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• W2084228045 abstract "Wine, according to Roger Bacon's 13th-century treatise On The Cure Of Old Age, “cheers the Heart, tinges the Countenance with Red, makes the Tongue voluble, begets Assurance, and promises much Good and Profit” when taken in moderation, but excessive consumption might provoke “Fear, Trembling, Weakness of the Genitals, and the Destruction and Ruine of the Seed”. Bacon's treatise—a 17th-century edition of which is displayed in This Bewitching Poison, at the Royal College of Physicians (RCP) in London—offers a potent reminder that physicians have been arguing over alcohol, and the meaning of moderation and excess, for more than two millennia. Even in our own era there has hardly been a time when a public discussion of this subject would not have seemed both troubling and timely, and This Bewitching Poison makes an engaging and judicious contribution to the argument. In a speech at the opening of the exhibition, head curator Caroline Fisher—herself a former doctor—drew attention to the challenges of mounting This Bewitching Poison: Alcohol and the Royal College of Physicians. On one hand, the RCP has a clear policy on the issue of heavy drinking, and its former President Professor Sir Ian Gilmore has led a public campaign for minimum unit pricing as a way of reducing alcohol consumption. On the other hand, it is fatally easy to slip into a tone of self-righteousness; in a post-deference age, the medical profession cannot simply assume a passive and receptive audience for sermons on the evils of the demon drink. Fisher's solution is to let her material speak for itself, allowing viewers space to appreciate the subtleties of historical debates rather than merely projecting current attitudes backwards into the past. The result is a small exhibition that ranges with remarkable confidence and fluidity over the terrain of this vast subject. Fisher is also an artist, and This Bewitching Poison is particularly rich in images of drinking and drunkenness. Some of these will be well-known: original prints of Gin Lane and Beer Street remind the viewer of William Hogarth's wit and bite as a satirist of the 18th-century gin craze—particularly when viewed alongside the scribblings of his less distinguished contemporaries—while George Cruikshank's The Bottle offers a more conventionally bourgeois view of the fate awaiting Victorian drunkards and their hapless families. Others, like Paula Rego's O Vinho, a series of lithographs made in 2007 and inspired by a short story from the Portuguese novelist João de Melo, are less familiar but equally intriguing, contrasting intoxication with sobriety to draw out the tension between images of alcohol in art, literature, and the media, and the harsh, vivid reality of its effects. This contradiction is also taken up in One Too Many, a short film made by the artist Annis Joslin for the exhibition and which can be viewed on the RCP's website. Joplin has recorded testimony from many individuals with a connection to the manufacture, sale, or regulation of alcohol, and has woven their voices around a central thread—the story, told by his ex-wife, of a husband and father whose alcoholism led to imprisonment, the breakdown of their marriage, depression, and death. By handling this material so sensitively Joslin makes concrete one of the deeper questions underlying This Bewitching Poison: what does individual choice mean in a society where cheap alcohol, advertising, and opportunities to drink are so pervasive? In the words of one voice from the film, “That bottle beckons to you…What do you do with that time between seven-thirty and eight if you don't do that?” Thanks to Fisher's light curatorial touch, the exhibits can be enjoyed as much for their beauty as for the story they have been brought together to tell. A recipe book from the late 1660s recommends a mixture of sack and aqua vitae infused with rue and sage as a prophylactic against the plague, and records the ingredients for a “Draft to Prevent Stone and Gravell”, all in the most gorgeous italic handwriting. Best of all—and the object I'd most like to have taken home—is a golden Arts and Crafts goblet from the RCP's own collection, holding barely a mouthful of champagne. This exquisite, slender chalice seems to embody, all by itself, a lost notion of moderation. This Bewitching Poison: Alcohol and the Royal College of PhysiciansRoyal College of Physicians, London, UK, until June 27, 2014 http://www.rcplondon.ac.uk/museum-and-garden/exhibitions/bewitching-poison-alcohol-and-royal-college-physicians This Bewitching Poison: Alcohol and the Royal College of Physicians Royal College of Physicians, London, UK, until June 27, 2014 http://www.rcplondon.ac.uk/museum-and-garden/exhibitions/bewitching-poison-alcohol-and-royal-college-physicians" @default.
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• W2084228045 date "2014-02-01" @default.
• W2084228045 modified "2023-09-26" @default.
• W2084228045 title "The bottle beckons" @default.
• W2084228045 doi "https://doi.org/10.1016/s0140-6736(14)60170-7" @default.
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