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Reviews 119 Black does not share therecipe'senthusiasm for 'white grece', p=
resumably because her game butcher provides her with fat, juicy rabbits. La=
shings of oil or dripping will, however, compensate for the dryness of the =
wild Australian rabbit, and the spices here provide its exquisite sour-swee=
t flavour. Was Anglo-French medieval cuisine delicious enough to bear this =
kind of effort in hewing and smiting, boyling and streyningl Has the presen=
ce in our larders of garlic, tomatoes, and potatoes spoilt our palates? I l=
ooked at Emilio Faccioli's unsurpassed volume, L'arte della cucina in Itali=
a: libri di ricette e trattati sulla civilta della tavola dal XIV al XIX se=
colo (Turin, 19 to see if there was a great difference. Thefifteenth-centur=
yEnglishrecipefor losyns differs from the fourteenth-century Tuscan recipe =
for lasagne only in the specification that poudre douce (a mixture of mace =
and cardamom or cinnamon with white pepper) should be added. The Italian re=
cipes are distinguished, however, by a wondrous range of ingredients, farri=
cherand more varied and appetising, and corresponding more closely to the r=
ange of ingredients available in m o d e m markets. Maggie Black's Medieval=
 cookbook is part of a very successful worldwide trend in museum marketing,=
 namely quality reproductions of museum holdings, in this case of medieval =
texts and illustrations, which are made available through outlets far beyon=
d the original museum. While it may not supersede Constance B. Hieatt and S=
haron Butler's very plain Pleyn delit: medieval cookery for modern cooks, w=
ith aU its menu advice for conference dinner organizers, this is certainly =
a more beautiful book, created to please the eye and the mind, even if the =
palate was less impressed. Nerida Newbigin Department of Italian University=
 of Sydney Bloom, Jonathan, Minaret: symbol of Islam (Oxford studies in Isl=
amic art, VII), Oxford, Oxford University Press, 1989; pp. 216; 133 figures=
; R.R.P. AUS$130.00. This study sets out to ask when, where, why, and how m=
inaret towers became attached to mosques and eventuaUy came to be regarded =
by Muslims and non-Muslims alike as a symbol of Islam. It also claims to co=
rrect the received view concerning the history of the minaret and to explai=
n it in terms of the culture that produced it rather than in external terms=
. While 120 Reviews keeping a broad historical and spatial perspective, the=
 book focuses on the first six centuries or so of Islamic history, mostly i=
n the central lands of Islam. Edward Said, author of Orientalism, has remin=
ded us of the significant distinction between 'origins' and 'beginnings' in=
 the context of literary creativity (Said, Beginnings: intention & method, =
Columbia, 1975, 1985). Such a distinction is particularly valuable for cult=
ural historians. While not referring to Said, Bloom certainly sees the diff=
erence between the origins of the call to prayer (adhan) as an integral par=
t of Islamic liturgy at the time of the Prophet and the somewhat later begi=
nnings of the minaret (manara) as an architectural feature of the mosque. H=
is combined use of literary, epigraphic, archaeological, and monumental evi=
dence is to be commended. However, his lengthy discussion of etymology lead=
s to unnecessary digressions and confusion. For example, the assertion that=
 the Arabic term manara (whence English minaret) originally signified 'a pl=
ace offire'is misleading; the reference to Zoroastrianfireis irrelevant. Wh=
ile accepting his conclusion that the minaret was not originally a necessar=
y element of mosque architecture, his argument that the first minarets were=
 begun in the late second, rather than thefirstIslamic century, in 'Abbasid=
 Iraq rather than Umayyad Syria is less convincing. His apparent concern to=
 disprove the connection between adhan and early mosque towers may have led=
 the author to minimize the importance of mi'dhana (from adhan), as the mor=
e usual Arabic term for a mosque tower. This is despite evidence that the t=
erm and the tower were both in use, in connection with the calltoprayer, be=
fore the mid-eighth century A.D. The author seems to blame the supposed 'in=
adequacy of the Arabic historical dictionary' for the apparent misunderstan=
ding by Western Orientalists of the history of the minaret. Although true f=
or the early m o d e m period, such criticism of Arabic lexicography is act=
ually invalid for the period with...


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