Dreamtime voyagers: Australian Aborigines in early modern Makassar

The coast of Arnhem Land, in Northern Australia – scene of first contact between Australian Aborigines and Makassan fishermen sometime around 1700.

The coast of Arnhem Land, in Northern Australia – scene of first contact between Australian Aborigines and Makassan fishermen, probably some time before 1700.

If there’s one thing that most people think they know about the early history of Australia, it’s that the continent remained suspended, in unchanging isolation, for countless thousands of years before the arrival of the convicts of the First Fleet early in 1788. Cut off from the rest of humanity ever since the end of the last Ice Age, the Aboriginal population lived on for generation after generation in a hazy, mythic stasis: a “Dreamtime” in which the passage of the years, and even the notion of history itself, had practically no meaning. Theirs was a pure, pristine existence; the first Australians were part of the land itself, rather than living off it and exploiting it. And when the British arrived and claimed the continent, they sullied an Eden, degrading the noble savages who lived in it.

There is plenty that is wrong with this portrait of pre-contact Australia. It owes more to the New Age enthusiasms of the 1970s than it does to the realities of history. It lumps together hundreds of tribes, and dozens of major language groups, into one undifferentiated mass – conflating lives lived in an almost infinite variety of landscapes, from the deserts of the red centre to the lushness of the tropical north – and it perverts a rich, complex mythology, turning what we inadequately term “the dreaming” into little more than a synonym for the whole period before the days of Captain Cook. Most dangerously of all, it imposes striking limitations on the Aborigines themselves. In insisting they were pure, it makes them primitive; in sketching them as absolutely isolated, it encourages us to think of them as people so alien that they were barely capable of interacting with the rest of the world.

"The source of life." A paintig by Zhou Xiaoping from the Melbourne Museum exhibition "Trepang: China and the story of the Macassan-Aboriginal Trade" (2010).

“The source of life.” A painting by Zhou Xiaoping, from the Melbourne Museum exhibition “Trepang: China and the story of the Macassan-Aboriginal Trade” (2010).

All this is a distortion of a less straightforward but vastly more compelling history. Australia was never entirely cut off from the rest of the world; there is evidence of frequent contact with the peoples of New Guinea and, beginning in the 17th century, there were also sporadic encounters with Dutch mariners along the western and northern coasts. Most remarkably of all, the Aboriginal peoples of the far north – what Australians today call the “Top End” – were, for several centuries at least, part of a vibrant and extensive trading system, one that brought them into annual contact with seagoing merchants from Indonesia, and linked them to civilisations as far away as China and Japan.  Continue reading

The Breton Bluebeard

Cassia Lupo Widower Bluebeard and the Red Key

“Widower Bluebeard and the Red Key” – a painting from Cassia Lupo’s wonderful series “Fables and myths.” Reproduced with permission and grateful thanks.

For very nearly all its course, the Blavet is a placid river. It winds its way through central Brittany: broad, unhurried, gentle and unthreatening, a favourite among fishermen, and – for the century or so since it was dammed at Guerlédan, creating a substantial lake – a magnet for holidaymakers, too. Yet even there, at the heart of an ancient county that knows its history as well as anywhere in France, not one person in a thousand could tell the awful history of the river. Few realise that there were times when it was not so tame, or can point to where the outlines of an ancient fortress can yet be traced, up on the heights above the dam. And almost nobody recalls the lord of that forgotten castle, or could tell you why, until about 150 years ago, Breton peasants crossed themselves at the mere mention of his name.

His name was Conomor the Cursed, and he lived in the darkest of the Dark Ages – in the first half of the 6th century, 150 years or more after the fall of Rome, when much of Brittany was still dotted with dolmens and covered by primeval forest, when warlords squabbled with one another other over patrimonies that were generally less than 40 miles across, and the local peoples were as likely to be pagan as they were Christian. We know almost nothing about him, save that he was probably a Briton, very probably a tyrant, and that his deeds were remembered long enough to give rise to a folkloric tradition of great strength – one that endured for almost 1,500 years. But the folk-tales hint at someone quite extraordinary. In local lore, Conomor not only continued to roam the vast forest of Quénécan,  south of his castle, as a bisclaveret – a werewolf – and served as a spectral ferryman on another Breton river, making off with Christian souls; he was also the model for Bluebeard, the monstrous villain of Charles Perrault’s famous fairy tales. Continue reading

Aqua Tofana: slow-poisoning and husband-killing in 17th century Italy

Detail from

Detail from “The love potion”, by the nineteenth century Pre-Raphaelite Evelyn De Morgan. The tangled tale of Aqua Tofana is intimately connected to the “criminal magical underworlds” of the 17th century, which supplied love philtres, potions, medicines and poisons to a mostly female clientele.

Early in the autumn of 1791, while he was still hard at work on the great requiem mass that would form such a large part of his legend, Wolfgang Amadeus Mozart fell seriously ill. Convinced that there was no chance of recovery, he

began to speak of death, and asserted that he was setting the Requiem for himself… “I feel definitely,” he continued, “that I will not last much longer; I am sure that I have been poisoned. I cannot rid myself of this idea… Someone has given me acqua tofana and calculated the precise time of my death.

Scholars have wrangled now for two full centuries over the circumstances of the great composer’s passing. A handful have concluded that he really was murdered. Most support rival diagnoses of syphilis, rheumatic fever or even the deadly effects of eating undercooked pork chops. Whatever the truth, though, and however he died, Mozart was certainly convinced that there existed a rare poison, one that was colourless, tasteless, odourless, beyond detection – and also so flexibly murderous that a carefully-calculated dose could guarantee a victim’s death a week, a month or even a year after it had been administered.

Nor was the composer alone in this belief. Forgotten though it is today, the mysterious liquid that he feared so much was one of the great whispered secrets of early modern Europe. Aqua Tofana was credited with what amounted to supernatural powers, and blamed for hundreds of agonising deaths. Which is odd, since it is very far from clear that it ever existed – and, if it did, what it was, where it was invented, where first used, and when and how it got its name. Continue reading

Blonde cargoes: Finnish children in the slave markets of medieval Crimea

Testing a female captive's teeth in an eastern slave market.

Testing a female captive’s teeth in an eastern slave market.

The horrors of the trans-Atlantic slave trade have left an ineradicable mark on history. In the course of a little more than three and a half centuries, 12.5 million prisoners – at least two-thirds of them men destined for a life of labour in the fields – were shipped from holding pens along the African coast to destinations ranging from Argentina in the south all the way north to Canada. It was the largest forced migration in modern history.

When we think of slavery, we tend to think of this African traffic. Yet it was not the only such trade – nor was it, before 1700, even the largest. A second great market in slaves once sullied the world, this one less well-known, vastly longer-lasting, and centred on the Black Sea ports of the Crimea. It was a huge trade in its own right; in its great years, which lasted roughly from 1200 until 1760, an estimated 6.5 million prisoners were shipped off to new and often intensely miserable lives in places ranging from Italy to India.

Slavery in the Crimea, however, differed in significant ways from the model made so familiar by the trans-Atlantic trade. The slaves sold there were drawn for the most part from the great plains of the Ukraine and southern Russia in annual raids known as the “harvesting of the steppe.” Their masters were successively Vikings, Italians and Tatars – the latter being, for nearly half of the trade’s life, the subjects of the Crimean Khanate, a state that owed its own long life to its ability to satisfy demand for slaves. And most of the slaves themselves were not male labourers. They were women and children destined for domestic service – a fate that not infrequently included sexual service. The latter sort of slave was always fairly commonplace in the Crimea. When the Ottoman writer Evliya Çelebi toured the north shores of the Black Sea in 1664, he noted down some examples of the local dialect that he hoped other travellers to the region might find useful. Among the phrases that Çelebi selected were “Bring a girl” and “I found no girl, but I found a boy.”

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Stoney Jack and the Cheapside Hoard

George Fabian Lawrence, better known as

George Fabian Lawrence, better known as “Stoney Jack,” parlayed his friendships with London navvies into a stunning series of archaeological discoveries between 1895 and 1939.

It was only a small shop in an unfashionable part of London, but it had a most peculiar clientele. From Mondays to Fridays the place stayed locked, and its only visitors were schoolboys who came to gaze through the windows at the marvels crammed inside. But on Saturday afternoons the shop was opened by its owner—a “genial frog” of a man, as one acquaintance called him, small, pouched, wheezy, permanently smiling and with the habit of puffing out his cheeks when he talked. Settling himself behind the counter, the shopkeeper would light a cheap cigar and then wait patiently for laborers to bring him treasure. He waited at the counter many years—from roughly 1895 until his death in 1939—and in that time accumulated such a hoard of valuables that he supplied the museums of London with more than 15,000 ancient artifacts and still had plenty left to stock his premises at 7 West Hill, Wandsworth.

“It is,” the journalist H.V. Morton assured his readers in 1928,

perhaps the strangest shop in London. The shop sign over the door is a weather-worn Ka-figure from an Egyptian tomb, now split and worn by the winds of nearly forty winters. The windows are full of an astonishing jumble of objects. Every historic period rubs shoulders in them. Ancient Egyptian bowls lie next to Japanese sword guards and Elizabethan pots contain Saxon brooches, flint arrowheads or Roman coins… There are lengths of mummy cloth, blue mummy beads, a perfectly preserved Roman leather sandal found twenty feet beneath a London pavement, and a shrunken black object like a bird’s claw that is a mummified hand… [and] all the objects are genuine and priced at a few shillings each.

H.V. Morton, one of the best-known British journalists of the 1920s and 1930s, often visited Lawrence’s shop as a young man, and wrote a revealing and influential pen-portrait of him.

This higgledy-piggledy collection was the property of George Fabian Lawrence, an antiquary born in the Barbican area of London in 1861—though to say that Lawrence owned it is to stretch a point, for much of his stock was acquired by shadowy means, and on more than one occasion an embarrassed museum had to surrender an item it had bought from him. For the better part of half a century, however, august institutions from the British Museum down winked at his hazy provenances and his suspect business methods, for the shop on West Hill supplied items that could not be found elsewhere.

Among the major museum pieces that Lawrence obtained and sold were the head of an ancient ocean god, which remains a cornerstone of the Roman collection at the Museum of London; a spectacular curse tablet in the British Museum; and the magnificent Cheapside Hoard: a priceless 500-piece collection of gemstones, broaches and rings excavated from a cellar shortly before the First World War. It was the chief triumph of Lawrence’s career that he could salvage the Hoard, which still comprises the greatest trove of Elizabethan and Stuart-era jewelery ever unearthed. Continue reading

The octogenarian who took on the shoguns

Shakushain, the leader of Ainu resistance to Japan, is shown in this modern memorial on Hokkaido. Thanks to a postwar revival of Ainu nationalism, celebrations of indigenous culture are held each year at this spot. Photo: Wikicommons.

There has always been something otherworldly about Hokkaido. It is the most northerly of the four great land masses that make up Japan, and although separated from the mainland, Honshu, by a strait only a few miles wide, the island remains geologically and geographically distinct. Spiked with mountains, thick with forests, and never more than sparsely populated, it has a stark and wintry beauty that sets it apart from the more temperate landscapes to the south.

Hokkaido is such a familiar feature on maps of Japan that it is easy to forget what a recent addition it is to both the nation and the state. It does not appear in Japanese chronicles until around 1450, and was not formally incorporated into greater Japan until 1869. As late as 1650, the island was known as “Ezo,” and was a distant frontier zone, only tenuously controlled from Edo (modern Tokyo). Even in the 1740s, Tessa Morris-Suzuki notes, maps of the region still showed it “disappearing over the horizon and petering out in a splash of unconvincing islands.” And while it seems always to have possessed a small population of Japanese hunters and merchants, Hokkaido was home to, and for the most part run by, a significantly larger group of indigenous tribes known collectively as the Ainu.
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The crucifixion of Prince Klaas: Antigua’s disputed slave rebellion of 1736

Prince Klaas, leader of the supposed slave rebellion on Antigua, on the wheel.

Breaking on the wheel was the most horrific punishment ever visited on a convicted criminal. It was a form of crucifixion, but with several cruel refinements; in its evolved form, a prisoner was strapped, spreadeagled, to a large cartwheel that was placed axle-first in the earth so that it formed a rotating platform a few feet above the ground. The wheel was then slowly rotated while an executioner methodically crushed the bones in the condemned man’s body, starting with his fingers and toes and working inexorably inward. An experienced headsman would take pride in ensuring that his victim remained conscious throughout the procedure, and when his work was done, the wheel would be hoisted upright and fixed in the soil, leaving the condemned to hang there until he died from shock and internal bleeding a few hours or a few days later.

“Breaking” was reserved for the most dangerous of criminals: traitors, mass killers and rebellious slaves whose plots threatened the lives of their masters and their masters’ families. Yet in the case of one man who endured the punishment, a slave known as Prince Klaas, doubts remain about the extent of the elaborate conspiracy he was convicted of organizing on the West Indian island of Antigua in 1736. The planters who uncovered the plot, and who executed Klaas and 87 of his fellow slaves for conceiving of it, believed it had as its object the massacre of all 3,800 whites on the island. Most historians have agreed with their verdict, but others think the panicky British rulers of the island exaggerated the dangers of a lesser plot—and a few doubt any conspiracy existed outside the minds of Antigua’s magistrates.
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