ANCIENT EGYPTIAN BREAD

"Crush the grain with sticks in a wooden container. Pass the crushed grain through a sieve to remove the husks. Using a grindstone, crush the grain still finer until you have a heap of white flour. Mix the flour with enough water to form a soft dough. Knead the dough in large jars, either by hand or by treading on it gently. Tear off pieces of the kneaded dough and shape into rounds. Either cook directly on a bed of hot ashes or place in moulds and set on a copper griddle over the hearth. Be attentive while cooking: once the bottom of the bread starts to brown, turn over and cook the other side". 
(In the wall of Senet’s tomb, Luxor, Egypt)

On the hot, dusty sides of the hill of Sheikh Abd el-Qurna, overlooking the Nile valley near the ancient city of Thebes – now Luxor – you’ll find the discreet and humble entrance to the tomb of Senet. Carved into the limestone mountain, it is one of hundreds of burial chambers in the area. The tombs were the funerary resting places of the nobles, officials who wielded power under the Pharoahs in ancient Egypt.

Painted onto the walls of their tombs are scenes from daily existence that they wished to be replicated in the afterlife. So everything that was pleasant – happy memories, experiences and rituals – is recorded in detail, giving us a clear picture of everyday life 4,000 years ago. There are scenes of hunting, fishing, the harvesting of crops and grapes, feasting and general rural life.

Almost all of the tombs were for men, but Theban tomb number TT60 is the resting place of Senet. Hers is both the only known tomb for a woman dating from Egyptian Middle Kingdom period, between 2055 and 1650, and the oldest burial chamber whose decorated walls have survived in good order. In addition to images of hunting, ploughing and sowing, there are depictions of bread-making. These are so detailed and colourful that those who have seen the wall paintings attest to their overwhelming power. ‘We are,’ wrote Egyptologist Thierry Benderitter on viewing them in the 1970s, ‘in the presence of the exceptional representations of actual cooking in the Middle Kingdom.’

But who was Senet herself? It appears that she was either the wife or mother of Antefoqer, a vizier – the most senior of men who stood between the pharaoh and his subjects – who served both King Amenemhat I and then his son Sesostris I at the start of the Twelfth Dynasty, between 1958 and 1913 BC. That she was accorded her own hypogeum, or private underground tomb, attests to Antefoqer’s importance. Yet the entrance today has no majesty. Less grand than others on the same hill, it now has a brick entrance with a simple wooden door added in 1914 by the English Egyptologist Norman Davies.

Only very few tombs are open to the public. This one is rarely visited – entry being highly restricted – and photography is banned to prevent light damage to the wall paintings. Those permitted access must first manoeuvre past the endless rubble that surrounds the entrance before removing a pile of stones that frequently blocks the actual door in a crude but effective form of security. Once opened, the door reveals a long, narrow and bleak passageway extending into the tomb, its roof descending in height and adding to a sense of compression. The passage leads to a dusty square chamber where there’s a statue of Senet herself, seated; a reconstruction, the sculpture having been found completely fragmented.

Beyond the chamber is another long passageway, but this one is bright with paintings, in colours of ochre, yellow, red and blue. The eye is drawn first to an image of Antefoqer hunting, posing majestically in a simple loincloth, his bow fully extended. Around his neck is an elaborate necklace of blue, green and white, while his wrists are adorned with matching bracelets. There are images of greyhounds, hippos and beautifully drawn birds: geese, ducks and flamingoes in a bright, sky-blue background. Gazelles and hares are chased by dogs. Birds are netted and fish – so detailed you can tell their variety – are hauled in from a pond. And then halfway down the 20-metre passage, on the right, are scenes of cooking.

There is meat preparation, for instance. Under the cooling protection of an awning, men butcher an ox. They hang pieces of meat on ropes, while others out in the sun tenderise it, tapping it with stones. To their right a man adds a bone to a cauldron of soup with one hand while stirring it with a stick in the other. Another roasts poultry on a skewer over a raised grill, while encouraging the embers with a mezzaluna-shaped fan. It is a hive of activity.

As is a precisely drawn recipe for bread-making, summarised at the top of this chapter. The images were not of course intended to instruct the household cook, but to help the departed soul have some decent, freshly baked bread baked in the afterlife. Yet it is a foundation that has informed bread-making for thousands of years.

The images not only show how flour is prepared from grain, it also records some chatting (deciphered from hieroglyphs) between the characters, painted near some of their heads like speech bubbles. First, two men crush the grain in a wooden container. ‘Down!’ one orders as another replies, ‘I do as you wish.’ Next a woman passes the grain through a sieve to remove the husks, while her female companion grinds the grain even finer using a grindstone. In another image a girl kneads small rolls of dough in her hands, while another adds thin lines of it to some tall conical moulds. Behind the girl a man can be seen placing the conical containers into an oven. He pokes the embers with one hand while protecting his face from the heat with another. But he’s not happy with the state of the logs. ‘This firewood is green,’ he moans.

Meanwhile, another woman can be seen kneading a much larger piece of dough. She leans over a table, pressing and stretching it out. The finished dough is presumably destined for the bakery in an adjacent picture. Here a foreman stands holding a threateningly pointy-ended staff while he encourages his workers. Below him a man on his knees kneads dough and meekly says: ‘I do as you wish, I am hard at work.’ His co-worker carries some dough in a reddish-brown mould towards a hearth where another pokes at the flames. While others are kneading dough by both treading or mixing it by hand, a final character can be seen turning a partially cooked piece of bread, which has turned brown in the hot ashes.

Bread made in this way was a staple food of ancient Egypt. The world’s earliest loaves show how people had progressed in agriculture and in the techniques of milling, leavening and baking, although we can’t be sure when they learnt to use yeast to help the dough rise and produce a lighter loaf. It’s likely that the products of this early baking were a little like modern-day pitta bread. A set of beer-making scenes that exist in the same passageway suggests ancient Egyptians were using yeast. It’s needed to turn the sugar to alcohol and even if it was incorporated in its natural state, from yeast spores in the air, it was used at some point in ancient Egypt. Other hieroglyphs in tombs near Luxor show bread being left to rise near ovens, although the detailed scenes of grain being turned to dough in Senet’s tomb do not include this part of the process. Perhaps some dough that had been left for a day rose a little due to the presence of air-borne yeast and the baker enjoyed the resulting, fluffier loaf. (Although it is safe to assume that at that time he would not have understood the science behind the process – fermentation expanding the gluten proteins in the flour and causing the dough to expand.)

As bread- and beer-making often occurred in tandem, it could be, whether by accident or experiment, that some fermented brewing liquor was added to the dough. However, it did occur and using starter doughs (a soft lump from the previous day added to the next morning’s batch) became common practice. The regular use of yeast to make leavened bread is evident, at least, from the Bible – Exodus 12: 34 and 39, to be precise. As the Israelites fled from captivity in Egypt, ‘the people took their dough before it was leavened, their kneading troughs being bound up in their clothes upon their shoulders’. The bread they made subsequently, as Exodus goes on to recount, was not a nice, airy country-style loaf: ‘And they baked unleavened cakes of the dough which they brought forth out of Egypt, for it was not leavened; because they were thrust out of Egypt, and could not tarry, neither had they prepared for themselves any victual.’

Records show that in addition to bread, the ancient Egyptians enjoyed a diet rich in fruit, vegetables and poultry. They used herbs, from cumin to fenugreek, and that scenes of domestic cooking were considered important for the afterlife confirms that it was as vital a part of everyday life then as it is now.

By William Sitwell in "A History of Food in 100 Recipes", Collins-Harper, London, 2012, chapter 1. Digitized, adapted and illustrated by Leopoldo Costa.