Category Archives: Early Modern

Henri’s kitchen: 2. Chouquettes

Harry Hayfield, a resident of Ceredigion in Wales, has long had an interest in the stories of the Musketeers which are set in early 17th century France, this led in turn to an interest in the Stuart period of history and joining a living history group. However, as a registered carer for his grandparents, he is unable to get to many of the events and yet wanted to do something to help. One day he was watching “The Little Paris Kitchen” broadcast on the BBC and thought “These are recipes designed by the French, therefore could they be converted in the 17th century versions of themselves?”. Doing some research he found that they could. Harry will therefore contribute four of the recipes as shown in the programme as if cooked by Henri de Ceredigion (Harry’s Stuart persona) a cadet member of the Musketeers, with able assistance from Planchet, his manservant cum stable lad.

There is nothing nicer after a hard day’s training as a cadet to get back to my digs, command “Planchet, chouquettes please!” and know that about half an hour later you can be doing a very good impression of Athos at a grand dinner relaxing and enjoying life. I’ll admit that when Planchet first introduced them to me, I wasn’t entirely sure about them, but once I tasted one I couldn’t have enough. And what are these little wonders, you may be asking? Basically little pastries that, ooooh, you cannot describe without having experienced them first. So, if you fancy making some, here’s how you do it. First you take a quarter of a cup of water (and before you hold your hands up in horror, don’t worry, this is freshly collected rainwater, I know to avoid the stuff in the streets), the same amount of milk, a little salt and a little sugar, some butter, roughly the length of your index finger, chopped into small pieces. Put it all in the pot. Then add a third of a small packet of flour and mix. Now, when I first made this, at this stage it just looked, well, wrong is the only word I used. It was lumpy and reminded me of very badly made porridge. But Planchet was on hand to help and spent the next several minutes mixing it so hard that by the time it had turned into a solid mass, he was breathing hard. When it reaches that point, place it in a bowl and then move on to the next ingredient.

Chouquettes. Credit: Aerith, Wikipedia

That ingredient is eggs; however, do not do what I did the first time I made this on my own, because if you add the eggs now, they will scramble, and although I like scrambled eggs of a morning, that’s not what I was wanting to make, so here’s a little tip from Planchet. Give the mass a stir until the pastry is cool enough so that it is still warm but nothing like as hot as when it came out of the pot. Add the eggs and keep on stirring as you do so and don’t worry if it looks like it has all gone wrong, you are on precisely the right path, as you want to end up with something that looks like mud in terms of its consistency. Then you put that into a special bag for piping, available from any half decent chef ,or in my case, my manservant, and then it comes to piping it. Now, there’s a special technique for this. In order to pipe properly make the shape of a letter L with your thumb and finger next to it; then turn the shape around, place your thumb part of the shape to the left of the bag and then wrap the other finger around and you are ready to go. Hold the bag upright and count to three whilst squeezing at the top and, if you will pardon the term, voila, chouquettes! Then, if you can get any, dust with icing sugar and decorate with either small pieces of chocolate or if you like, small pieces of cheese, although technically that will turn them into gorcherge, but that is purely personal preference.

Now comes the tricky part of the whole exercise: baking them. Ideally they need to be baked until the smell of baking fills the kitchen and here is where the problems can start. We first made this on a very hot day and so had all the windows and doors open, just as we finished making them the local priest walked in, quite unexpectedly and asked if we would be willing to donate anything to help raise funds. All we had were these chouquettes so we asked if that would be all right. He popped one into his mouth and collapsed with desire before placing the rest into a bag, blessing us and walked back the way he had come. So we had to make another set; however that version caught the attention of Athos and I regret to say that his reputation precedes him. He managed to devour four sets of them before he had his fill. If that wasn’t bad enough, just as we thought we would have some to ourselves, lots of children starting rapping at our door asking for some. So a word of advice: never bake these on the hottest day of the year or if you have to then, do it during the coolest part of the day. If you do manage to get them out of the oven before anyone realises that you have, make sure they are nice and golden brown and devour before anyone gets the chance to pinch them.

What is a Recipe? Week 3

Welcome, welcome, welcome. Please pull up your chair and make yourself comfortable. We have a wonderful week ahead, with something going on every day.

We’ve had some great conversations already.  On Day 1, we wondered what is a recipe, considered their sensory and experiential nature, and appreciated their wildness.  On Day 2, stories emerged as the theme du jour: from favourite recipes and family history, to big stories, to reading and literacy…

Snowdrift Secrets, early 20th century. Credit: Wellcome Library, London.

And this week, we dare you to take a crack at writing your own recipe story, with the ‘Cooking with Anger’ Netprov event on all month. Emotions as story ingredients, anyone? Perhaps in the ‘Henri’s Kitchen’ series, which is back on Tuesday with time-travelling cookery and a lively master-servant relationship in the kitchen. And in a podcast that considers cosmetic recipes in Ovid’s poetry (Thursday), Marguerite Johnson further blurs the boundaries between literature and recipes.

Experiments are another theme. Siobhan Clarke’s 1791 potato growing experiment continues both days on Twitter and Instagram and Sietske Fransen tweets on Tuesday about her trawl through the Royal Society archives. Also on Twitter (Tuesday), Emily Thompson takes a look at some seventeenth-century instructions for growing saffron.

Edison phonograph with a carbon microphone, 1878. Credit: Wellcome Library, London.

Taking a turn away from written stories and recipes, we’ll also be considering the oral functions of recipes. Peter Jones (on this blog, Tuesday) examines the oral and written transmission of medieval recipes used by medieval friars interested in alchemy. Véronique Ginouvès of the MMSH will consider (in an English and French blog post on Thursday) the uses of collected oral recipes within the context of a sound archive.

There are many other recipe treats on — such as Louise Cilliers’ blog post (here) on ancient recipes for breast engorgement, Simon Walker’s YouTube video and Twitter chat on a First World War recipe from the trenches, and my own reflections (Twitter and blog post) on teaching early modern recipes.

Once again, we have several institutions joining us to tweet, insta, facebook, and blog about their collections: Cardiff University Special Collections and Archives (Monday); Folger Shakespeare Library (Tuesday); Wangensteen Historical Library (Wednesday); and Provincial Archives of Alberta and Royal College of Physicians, London (Friday).

It’s going to be a recipe-packed week for us, and we look forward to more recipe chat with you.


PROJECT DETAILS

‘Cooking with Anger Netprov’, Mark Marino and Rob Wit

This week-long event is modelled on TV cooking competitions. Cooking with Anger is a netprov where storyteller chefs improvise a tale and a recipe from a given basket of ingredients. Many have written about cooking with love; now it’s time for all the other emotions.

  1. Get a basket from the Protag-o-Matic ingredients machine. Copy and paste your basket at the top of your tale.
  2. Create a small dish of a stirring story — 300 words or less — using ALL the ingredients from your basket. Use people places and things as narrative; use food items for a recipe folded into the fiction. Season the tale with the emotional spice packet.
  3. We encourage you also to post a video in which you either tell the story, tell about the story, or tell how you made the story.

    Eyes expressing extreme emotion, from coldness to rage, c. 1794. After: Johann Caspar Lavater and Thomas Holloway.
    Credit: Wellcome Library, London.

Website:          Cooking with Anger
Twitter:            @markcmarino and @Netprov_RobWit

Cardiff University Special Collections and Archives

Will be sharing recipe-related material from their collections on Twitter.
Twitter:                 @CUSpecialColls

“Spuddenly Farming: A reconstruction of Rev. Mr. Cochran’s Potato experiment, 1791”, Siobhan Carlson

Following the American Revolution, the British crown gave Loyalists land to farm throughout the Canadian Maritimes. This migration gave rise to the emergence of an English print culture in the region that included agricultural recipes. Amongst these entries, on the 24th of March, 1792, the Royal Gazette and Miscellany of the Island of Saint John, printed the experiment entitled, “To determine whether it is best to plant large or small Cuttings of Potatoes; in a Letter from the Rev. Mr. Cochran to the Secretary of the Agricultural Society for the County of Hants, dated Winsor, Feb. 1791.” The experiment outlines the best methods to grow Prince Edward Island’s famous export – the potato. The goal of this project is to reconstruct the experiment, to think about/consider the experience of Maritime Settlers.
Instagram:            @SpuddenlyFarming
Twitter:                 @Spuddenly_Farm

“Recipes in the Early Royal Society Archives”, Sietske Fransen

The seventeenth-century fellows of the Royal Society were interested in every part of the natural world. They collected and reproduced a large variety of recipes, from the making of pigments to finding the recipe for the best French bread, to a recipe for universal medicine. During my research days in June, investigating the visual practice of the early Royal Society (www.mv.crassh.cam.ac.uk), I will tweet the various recipes I encounter in the archive of the Royal Society. At the end of those weeks the found recipes will feature in a blogpost on recipes in the early Royal Society.
Twitter:             @sietske_fransen and @MVCRASSH
Blog:                    www.mvcrassh.cam.ac.uk and recipes.hypotheses.org

“A Relation of the Culture, or Planting and Ordering of Saffron (1678)”, Emily Thompson

She will look at a recipe by Charles Howard as a recipe (an atypical one to be sure, but a sound set of step-by-step directions for attaining a particular outcome i.e., the production of saffron). She argues that Howard’s recipe may be identified by its purpose, ingredients, procedure, equipment and administration. The recipe can be contrasted with later treatises and gardening manuals that build on his work and flesh it out into something beyond his dispassionate and precise step-by-step approach.
Twitter:                 @joiedelivre

Folger Shakespeare Library

Will be sharing its extensive recipes-related holdings via social media.
Twitter:                 @FolgerResearch

“Henri’s Kitchen”, Harry Hayfield

Harry Hayfield, a resident of Ceredigion in Wales, has long had an interest in the stories of the Musketeers which are set in early 17th century France, this led in turn to an interest in the Stuart period of history and joining a living history group. However, as a registered carer for his grandparents he is unable to get to many of the events and yet wanted to do something to help. One day he was watching “The Little Paris Kitchen” broadcast on the BBC and thought “These are recipes designed by the French, therefore could they be converted in the 17th century versions of themselves?”. Doing some research he found that they could, and therefore will contribute four of the recipes as shown in the programme as if cooked by Henri de Ceredigion (Harry’s Stuart persona) a cadet member of the Musketeers, with able assistance from Planchet, his manservant cum stable lad.

Collection of iatrochemical and chemical recipes
Credit: Wellcome Library, London.

“Distilling and Deflowering”, Peter Jones

He will discuss alchemical recipes associated with English mendicants, collected in the Tabula medicine text of 1416-25. The word ‘deflowering’ is a term that describes the way that they culled recipes from various sources—written and word-of-mouth—before recording it in the book. His blog post will appear at The Recipes Project.

“Historical Chocolate Tasting Events”, Wangensteen Historical Library of Biology and  Medicine at the University of Minnesota

Animated gif of chocolate bar with link to the full article in newsletter and additional link to historical choc tasting events at GYST Fermentation Bar, a collaborative effort with the Wangensteen Library. Also links to their digitized collection of recipe books.
Facebook:            https://www.facebook.com/umnbiomedlib
Twitter:                 @umnbiomedlib
Instagram:           @umnlib

“Recipes from the Sound Archive”, MMSH

The MMSH sound archive blog has a monthly feature on old recipes collected through interviews. In English and French, Véronique Ginouvès discusses what is a recipe when it comes to the sound archives.
Twitter:                 @Bagolina and @phonothequemmsh

“Theodorus Priscianus and Women’s Ailments”, Louise Cilliers

In a post for The Recipes Project, she considers the recipes of a 4th century physician from Constantinople: what did he use to treat women’s ailments?

Lady looking into mirror, 18th century.
Credit: Wellcome Library, London.

“Recipes for Beauty in Ovid”, Marguerite Johnson

Recipes for beauty were commonplace in the ancient Mediterranean and among the most comprehensive sources for cosmeceutical blends was Ovid’s Medicamina Faciei Femineae – 100 lines of which remain extant. When Marguerite Johnson translated the lines for her recent book, Ovid on Cosmetics (Bloomsbury 2016), she approached the task by taking the embedded lists of creams and treatments as recipes, and discussed the ingredients of each one and the methods of preparation. In this podcast, Marguerite will discuss the five recipes in the Medicamina with a focus on the ingredients – from honey to the mysterious alcyonea – and their properties for beautifying and preserving the skin.
Twitter:                 @MMJ722

“Introducing the Margaret Baker Project”, Lisa Smith

Over the year, my students on The Digital Recipe Book Project module read about early modern recipes and their wider social and cultural framework. We worked alongside other classrooms in the Early Modern Recipes Online Collective who were also working on Baker’s book. Along the way, they learned how to read old handwriting, transcribed several pages of a seventeenth-century manuscript recipe book by Margaret Baker, and built a website about Margaret Baker’s recipes. In this presentation, I’ll discuss the challenges of teaching recipes and working with Margaret Baker, as well as share the students’ insights from the year.
Blog:             drbp.hypotheses.org
Project site:     UofE Baker Project
Twitter:          @historybeagle

Ship’s biscuit, England, 1875
Credit: Science Museum, London.

‘Hard Tack Lemon Pudding’, Simon Walker 

He presents the YouTube cooking series Feedingunderfire wherein he cooks trench food recipes and tests them on guests. This episode focuses on an ‘apparently’ yummy dish.
YouTube:       Feeding Under Fire
Facebook:     Feeding Under Fire
Twitter:       @Dark_Nocterna

Provincial Archives of Alberta, Canada

Celebrating its fiftieth anniversary this year, the PAA will be highlighting some its holdings on food history over the month with Facebook posts and on Twitter.
Facebook:      Provincial Archives of Alberta
Twitter:                 @ProvArchivesAB

Royal College of Physicians, London

We’re interested in approaching the theme of ‘What is a recipe’ by considering one of the RCP’s most important publications, the Pharmacopoeia Londinensis (1st edition 1618). Depending on how you define it, the Pharmacopoeia probably isn’t a collection of recipes, though it is a collection of instructions for making medical prescriptions. It was translated into Nicholas Culpeper, with explanatory text added, in 1649, and Culpeper’s version may have more claim to recipe-ness. We also have manuscript recipe books in our collection that include similar prescriptions or recipes, so we’d like to explore the issue by bringing these three sources together, and by illustrating a couple of the recipes with examples from our collection of English apothecary jars, and specimens from our medicinal garden.
Blog:                     https://www.rcplondon.ac.uk/news/
Twitter:                 @RCPMuseum

Henri’s kitchen: 1. Cheese and Potato Nests

Harry Hayfield, a resident of Ceredigion in Wales, has long had an interest in the stories of the Musketeers which are set in early 17th century France, this led in turn to an interest in the Stuart period of history and joining a living history group. However, as a registered carer for his grandparents, he is unable to get to many of the events and yet wanted to do something to help. One day he was watching “The Little Paris Kitchen” broadcast on the BBC and thought “These are recipes designed by the French, therefore could they be converted in the 17th century versions of themselves?”. Doing some research he found that they could. Harry will therefore contribute four of the recipes as shown in the programme as if cooked by Henri de Ceredigion (Harry’s Stuart persona) a cadet member of the Musketeers, with able assistance from Planchet, his manservant cum stable lad.

Bonjour mes amis and welcome to my kitchen. Allow me to introduce myself, my name is Henri de Ceredigion , I am a cadet in the forces of the famed Musketeers that serve loyally under the authority of King Louis XIII of France and I am so pleased that my recipes have been accepted . I hope that these will give you as much pleasure as they have given me. I feel it is only fit and proper that I also introduce my manservant, Planchet, who has been by my side for the last year or so and is an absolute asset in the kitchen. You are, don’t be embarrassed please.

Today, by means of an introduction, I thought I would start with something nice and simple, namely cheese and potato nests which is a firm favourite in this household. First you need six good sized potatoes, about the size of your fist should do, and then you cut them up very small. This is where Planchet comes into his own as he states that he can chop anything to any size and he recommends that you chop them to resemble twigs that you sometimes find on the ground. Whilst that is happening, you finely chop an onion (excuse the tears), some garlic and then place it into a cooking pot with some butter (luckily we get ours from a very friendly farmer just outside Paris) and then cook gently. You can, if you wish add a bay leaf as well as I do, but that is purely optional. As that starts to cook, take some lardon and chop it into small squares and add that to the onion and garlic which should by now be gently cooking.

House mice devouring a large cheese. R. Hicks, 1888 Credit: Wellcome Library, London.

Ah, Planchet, well done, there’s the potatoes done now for the cheese, and I have to admit we have had a bit of a disagreement about this in the past. You see, Planchet, comes from the alpine area of France and therefore brought what he called a “devotional cheese” with him. It’s the cheese that monks in that area use when offering communion. The problem that I found was that it was very smelly indeed. In fact, when I first smelt it I declared that it was worse than a farmyard and, I don’t like to admit it, I think I upset him because we then had a blazing row and he stormed out and I was worried I would never see him again. Thankfully I did and I apologised for upsetting him and explained why. The following day, he came back from the market with a cheese that I instantly recognised, as it was made to a recipe form Somerset in my native homeland. Oh, sorry, did I neglect to mention that at the beginning. Sorry, when I am in the middle of something my memory does slip. I’m English by birth here as part of a special mission for His Grace the Duke of Buckingham, but don’t tell anyone that. Anyway, back to the cooking, so as a result of that disagreement we alternate the cheese, but today we are making the classic version and so we’re using half a devotional cheese, but you are more than welcome to use any cheese you like. Chop that cheese into little cubes, about the size of your thumb, and put them to one side, then add two glasses of white wine. Yes, I know that grapes are very hard to find these days, but again, having connections to the south of this country does have its perks. Give that mixture a good stir until there’s only a very small amount of liquid left. When that happens add the chopped potatoes and then pour the whole mixture into a bowl.

Now, has anyone spotted the deliberate mistake? Anyone? No? Well, this is what happened the first time we did this recipe, we forgot to get the bay leaf out of the mixture. So before you pour it into the bowl, take the bay leaf out otherwise you might spend the next few moments looking for it. Once you have removed the bay leaf, just throw in the cheese and give it a good mix and then place it into either several small tins that have been smeared with pig fat or if you fancy something a little on the big side place it all into a large bowl. Then you place it into the oven and cook it for as long as it takes for a cheese smell to permeate through your kitchen or it looks brown and is bubbling away in the tins. Serve immediately lest a certain manservant decides to devour them all or if you are able keep them warm until they are needed with some lettuce, if you fancy it.

About Harry Hayfield: My name is Harry Hayfield and I have been interested in history ever since I was first taught it in high school. My interest in living history is much more recent and was prompted by being able to buy on DVD a cartoon series that I would like to think reflects how I would behave if my father suddenly packed me off to one of the prestigious military academies of Europe (namely the Musketeers of 17th century France) and the interest comes from the fact that I was the only boy to take cookery in high school.

Seasonality and the (Re)creation of Early Modern Color Worlds

By Jenny Boulboullé

Color played an important role in the early modern world across a number of areas from arts and crafts to Christian religion to politics to natural history and philosophy. In recent years, scholars have begun to explore how early modern men and women engaged, produced and conceptualized colors within and across color worlds.[1] Just as in early modern culinary and medical recipes, seasonality is a recurrent theme in artisanal recipes. The art of preservation was highly valued for its powers to make flavors and healing properties of foodstuffs, plants and herbs endure well beyond their seasonal availability. In my contribution to the seasonality series I focus on recipes that celebrate the art of color preservation and on the mindful attention to seasons called for in color making recipes. I am particularly interested in the challenges that recipes for making natural dyes and pigments from seasonal products posed to modern historians trying to reconstruct them.

Today the symbolic significance of colors in early modern Europe is perhaps most readily associated with the compellingly colorful medieval and renaissance art works that have survived in sacred spaces and museums.

Figure 1, Caption: Giotto (1266-1337), The Scrovegni Chapel frescoes, Padua, Italy. ca. 1305. Image from Wikimedia Commons.

But in the pre-modern period a deep concern with colors was not limited to the arts: colors were associated with the four humors and close attentiveness to colors was of vital importance to practices of healing in the Hippocritean and Galenic medical tradition.[2] The perception and display of colors was also highly charged with political meanings: colors were a form of symbolic communication and played an important role in consolidating and displaying religious and secular power relations. European courts and courtly events were important sites of “chromatic politics” as contemporary witness accounts and meticulous historical reconstructions of ephemeral, yet splendid and compellingly colorful festive events have shown.[3]

Figure 2, Caption: Peter Paul Rubens, Design for state decorations for the triumphal entry of Cardinal Infante Ferdinand into Antwerp, on April 17, 1635, Hermitage, St. Petersburg. Image from Pubhist.com

The historical reconstruction of a sixteenth-century dress, originally created for the Augsburg Imperial Diet from 1530, is a particularly compelling example of the politicized use of brightly colored dress made from dyed textiles.[4] The owner of this dress and his contemporaries might have regarded its colors “as related to intrinsic qualities and powers”. Deep scarlet reds were regarded at that time “as carriers of life and heat, while a strong yellow was linked to gold as metal, which had given its powers by the influence of the sun”. Ulinka Rublack notes the challenges encountered during the reconstruction process. The yellow color obtained in their first dying trials “was just not quite vibrant enough” which was detrimental “as faded hues of yellow could have negative associations of weakness and coldness”.[5]

Other sixteenth century recipes for ‘yellows’ from organic sources, demonstrate that making natural dyes of this color depended on local seasonal knowledge. As Marieke Hendriksen has discussed, here in Utrecht, we are building a new database of artisanal recipes. A quick search in the Artechne Database yields several fifteenth- and sixteenth century German recipes for green and yellow colors that call for buckthorn berries (some with precise indication for picking times, like this one for “Green color” from 1543). Here an Italian one from the anonymous Padua Manuscript (ca. end 16th/17th century), translated and published in English:

To make giallo santo

Take the berries of buckthorn towards the end of the month of August, boil them with pure water, until the water is loaded and thick with color; add a little burnt roche alum and then strain it. You may boil the strained liquor to make the color deeper, mixing with it some very pure gilder’s gesso; then make the color into pellets, and dry them in the shade.[6]

In color recipes such as this one, seasonality and intimate knowledge of seasonal products sensitivities to additives play a key role. Berries had to be picked at specific times of the year to attain the right hues, and while the juice of ripe buckthorn, available in most of Europe, gives a greenish color, also known as sap green, one needs to get hold of unripe berries, fresh or dried, in particular a species imported from the Middle East, also known as “Persian berries”, to attain the deep golden yellow hue that the reconstruction team had envisioned for this dazzling sixteenth-century dress.[7] Only by patiently repeating the dye processes using the right berries picked at the right moment, can the desired vibrant hue of rich quality be achieved – both in the early modern period and during 21th century reconstruction.[8]

Thus, the commission of brightly dyed dresses for display at important events must have been a time-consuming affair that required planning long ahead of the political event and entailed a collaborative process of sourcing and experimenting that depended not only on seasonal knowledge and availability, but was also prone to risks of seasonal change. As Rublack’s work shows, reconstruction research makes us of acutely aware of the complexities and risks posed to those who aspired a part in the “chromatic politics” of the Holy Roman Empire in the sixteenth century. Moreover, as I will show in my next post, color recipe reconstructions allow us to experience the efforts and knowledge that went into the creation of early modern color worlds, which have become unfamiliar to our modern period eye.

_________________________________________________________________________

[1] Tarwin Baker, Sven Dupré, Sachiko Kusukawa, and Karin Leonhard, eds., Early Modern Color Worlds (Brill, 2016).

[2] Baker, Dupré, Kusukawa, and Leonhard 2016, 4.

[3] Ulinka Rublack, “Renaissance Dress, Cultures of Making, and the Period Eye.” West 86th: A Journal of Decorative Arts, Design History, and Material Culture 23, no. 1 (March 1, 2016): 6–34. doi:10.1086/688198.

[4] Rublack 2016.

[5] Rublack 2016, 23, 24.

[6] Maria Philadelphia Merrifield, Original Treatises, Dating from the XIIth to XVIIIth Centuries, on the Arts of Painting, in Oil, Miniature, Mosaic, and on Glass; Of Gilding, Dying, and the Preparation of Colours and Artificial Gems (John Murray 1849), 708.

[7] Jo Kirby, Susie Nash, and Joanna Cannon, eds. Trade in Artists’ Materials: Markets and Commerce in Europe to 1700 (Archetype Publications, 2010) Glossary, 447.

[8] Rublack 2016, 25.