Category Archives: Amy Tigner

Making Ink

By Amy L. Tigner

ink-and-quillI had been thinking for a couple of years that I would like to try to make ink the early modern way. I had run across several recipes for ink over the years in my research of seventeenth-century receipt books and I had read Amanda Herbert’s blog in which she discusses making ink in an undergraduate class.  I was also interested to find blogs in which scholars were teaching reconstruction in their classrooms, such as Patty Baker and Laurence Totelin, who are making ancient recipes for a MOOC video (read about it here), or Amanda Herbert, who had her students try tasting early modern hot chocolate (here). Finally, last fall I had a chance to teach both an undergraduate and a graduate class entitled “Early Modern Women’s Writing and Literary Practice” and decided that this would be the perfect opportunity to make ink.  

As it turns out, my interest in making ink comes at a time when scholars are in the process of reconstructing historical recipes, such as Marjolijn Bol, who has made Leonardo da Vinci’s Walnut Oil and ancient Greek and Egyptian recipes for fake gem stones.  Alyssa Connell and Marissa Nicossi write a blog that is all about cooking from early modern recipes in Cooking with the Archives.  Some larger reconstruction projects are also occurring around the world: ARTECHNE in Utrecht is working to rediscover historical art conservation techniques; and The Making and Knowing Project, which is interested in reconstructing art and craft techniques and recipes from the sixteenth century. The Early Modern Recipes Online Collective is working on a digital humanities project that is transcribing early modern recipe manuscripts that will eventually be available online; they often cook the recipes they are transcribing.

Back to my own project: the process of ink making turned out to be more expensive and more time-consuming that I had imagined, though both of these factors were also likely similar in the period and in the end a great learning experience.   I cheated a bit by looking on some ink-making websites that were quite helpful (especially, this one), as it explained about the chemistry of the ink making and also translated some of the recipe terms, such as “copperas” into “ferrous sulfate.”  The site also had links for purchasing ingredients.  I considered several different early modern recipes, but I finally decided on one of the several recipes in the Mary Grenville family receipt book manuscript (Folger V.a.430), because it was in English (some of the recipes are in Spanish) and it was the simplest in terms of ingredients, steps, and time.

granville-to-make-ink-very-well-p-42

To make=Inke=Verie Good

Take a quart of snow or raine water and a quart of Beerevinegre, a pound of galls bruised, halfe a pound of coperis, and 4 ounces of gum bruised, first mix your water and vinegre together, and put itinto an earthen Jug, then put in the galls, stirring itt 2 or 3 times a day letting it stand 8 or 9 daies and then put in your coperas and Gumme, as you use it straine itt.

Most recipes use some kind of wine or vinegar that keeps the ink from molding, but this particular one uses beer vinegar, which I discovered is quite easy to make by combining the “mother” of cider vinegar and a bottle of beer, then letting it ferment for several days. As for the galls, I had been collecting oak galls on my walks in the spring and had several gallon zip lock bags full, but when I weighed them I had only about 6 ounces—not close enough to the one pound required. It turns out that Texas oak galls are the big, light, and fluffy apple gall rather than the smaller but denser traditional iron oak gall.

shumard-red-oaks-apple-gall

Not trusting the Texas apple galls would work, I ordered a pound from Amazon for $45, and they arrived from Guatemala (link here):

iron-oak-galls

These I “bruised” with a meat hammer and then combined with the beer vinegar and rainwater. Because the mixture needed to “stand” for 8 or 9 days, I decided that I would do this in advance, so that we could simply add the final ingredients in class and try out the ink immediately.  I reserved the big fluffy apple oak galls for students to pound in class. The last two ingredients: gum arabic and the coperias (ferrous sulfate or green vitriol) I also ordered online from Amazon and Natural Pigments, respectively. I knew that gum arabic takes a while to dissolve, so I decided that I would pre-dissolve the crystals, first by grinding them into small pieces in a mortar and pestle and then placing them in hot water and finally I strained out the impurities. That process took about 24 hours.

ink-making

On the ink-making day, students assembled the ingredients following the recipe. The most surprising and exciting part was adding the ferrous sulfate, which turned the formerly beer-brown liquid into the blackest black.

dsc01576

We then strained the liquid and poured them into old spice bottles. The recipe made enough for each student to have a bottle.

dsc01590The ink turned out to be very good in terms of viscosity and color–and I’d argue better than the run of the mill India ink you can buy on the market.  Students really loved the project, especially as they were actively involved, and I am certainly planning to make ink the next time I teach a manuscripts class, though perhaps I will try a different recipe.

Amy L. Tigner teaches in the English Department at the University of Texas, Arlington.

Teaching Recipes as Literary Practice and the Practice of Transcription

By Amy L. Tigner

Students from the University of Texas, Arlington cook using early modern recipes.  Photo courtesy of the author.
Students from the University of Texas, Arlington cook using early modern recipes. Photo courtesy of the author.

As a founding member of Early Modern Recipe Online Collective (EMROC)—an international group whose main objective is to transcribe early modern receipt book manuscripts and upload them onto an open, searchable database—I, along with my EMROC compatriots, wanted to create a labor force to increase the number of transcriptions available to the public.  As many of us teach at universities, we thought it would be a great idea to conceive of classes in which a portion of the workload would contribute to this digital humanities project.  I have to be honest, that at first, I thought of my students as a kind of slave labor, but Rebecca Laroche (see previous blog post in this series) quickly reminded me of the value for students of what we were trying to accomplish as scholars ourselves.  After all, we are in the process of building a new source of knowledge and making viewable to the masses what had previously been seen only by the lucky few. Also, such a process would in fact teach the students valuable skills that they could use if they continued in the profession, or, if not, they could parlay into other pursuits outside academia.  From a traditional point of view, students would need to learn paleography, a necessary skill for any archival work. As more and more libraries are digitizing their manuscripts, there will be quite a lot of this kind of scholarly work for years to come.  Additionally, students would learn how to code their transcriptions into XML in order to upload their work to the database, Textual Communities, which is hosted by the University of Saskatchewan; this skill is clearly transferrable to the outside world.

The first class I taught that incorporated this project was a senior seminar for English majors at the University of Texas, Arlington, in spring of 2013.  The course was entitled “Recipes for Literature/Literature of Recipes.” I have a previous post that details the course, and students in the class also posted blogs about their discoveries in transcribing Wellcome MS108, a receipt book written by Jane Barber.  As this course was really successful (students generally loved working on the project), I thought I would take it to the next level and have graduate students contribute.  So the following year, I taught a class entitled “Food, Women, and Manuscript Culture.”  The course was designed to change students’ conception of the “literary” by broadening the meaning to include household writing, and in particular recipes. The graduate students (like the undergrads) first had to learn how to decipher seventeenth-century handwriting, so I (like Rebecca Laroche) had students use the Cambridge online paleography course, a site that has progressively difficult handwriting examples from the period.

Students from the University of Texas, Arlington cook using early modern recipes.  Photo courtesy of the author.
Students from the University of Texas, Arlington cook using early modern recipes. Photo courtesy of the author.

I found in both classes group work was key, as students get easily frustrated with the kind of work, especially as most were inexperienced with difficult and archaic handwriting. As some students naturally have a greater aptitude for transcription than others, they were to become teachers—good practice for many whose future plans include teaching. When it came to coding, which was a completely new world for me, students had to use problem-solving skills or often relied upon other students to help them. This collaborative atmosphere in the class created a greater sense of intellectual community—and fun.  Another interesting thing happened, however, in the work of transcription and later of coding: students had to slow their reading down, often to the level of deciphering individual letters, in order to read the text.  Thus transcribing and coding turned into close reading, causing students to dig deeper to find meaning.  We often ask students to read a text slowly and carefully, but more and more students are losing the patience to read in this manner. Our experience with the Internet, and with media more generally, trains us to read quickly and to skim the surface but rarely to be contemplative. This digital humanities project brings together traditional scholarly pursuits with twenty-first century technology to contribute to a growing a body of knowledge about the past.

An Early Modern Medicine for a Re-emerging Disease

By Glennda Bayron

A rachitic skeleton, measuring two feet two inches in length (1749). Credit: Wellcome Library, London.
A rachitic skeleton, measuring two feet two inches in length (1749). Credit: Wellcome Library, London.

In Mrs. Jane Baber’s cookbook (Wellcome MS 108), there is a medicinal recipe “For the Ricketts” tucked between a recipe to treat rheumy eyes and another for preserving raspberries. For many of the medicinal recipes in early modern receipt books, there is often no clear modern disease correlation, but rickets has again recently started to become more common in the western world. According to the Oxford English Dictionary, rickets is a “disease of children caused by vitamin D deficiency, which results in abnormal calcium and phosphorus metabolism and deficient mineralization of bone (osteomalacia) with skeletal deformity”.[1] In April 2012, congenital rickets was found to have resulted in the death of a little girl in London. Since the disease is uncommon in Britain, the parents had initially been charged with murder. With the resurgence of the disease, physicians and parents need to be aware of its early signs, with an eye to prevention. Modern treatments for rickets include increasing the amount of vitamin D and calcium in a child’s diet.

Rickets 2
Jane Baber, Wellcome Library, WMS 108, f. 4v.

The recipe in Mrs. Baber’s cookery book calls for speecke, rosemary, camamill, sage, verbane, hayhoes, nipp, neats foote oyle, butter, ale, and sasafras.  While some of these are cooking herbs that we use today, many of them are unrecognizable to the modern chef (or doctor, for that matter). Through researching herbal databases as well as help from others, I was able to determine what the uncommon ingredients were and how they were beneficial. “Speecke” turns out to be spike lavender, which is used as an anti-inflammatory. [2] “Verbane” is considered to strengthen the nervous system and creates a relaxing effect on the body.[3]  “Hayhoes” is the shortened version of hayhooves, another name for alehoof, which is often used with chamomile flowers (also in this recipe) as a poultice for abscesses.[4] “Neats foote oyle” is comprised of boiled cow skin bones and feet and is used today for shining leather and there is no record of a modern medicinal use.[5] “Nipp” or catnip, an ingredient not commonly found in your medical doctor’s office, is found in many holistic medicines to treat insomnia, anxiety, migraines, indigestion, gas, and to assist with delayed menstruation in girls.[6]  Sassafras is “the dried bark of this tree, used medicinally as an alterative; also an infusion of this”.[7] Although considered poisonous, it is still used to treat urinary tract disorders, syphilis, gout, cancer, and high blood pressure.[8]

Can of Neatsfoot Oil. 2008. Credit: Montanabw,  Wikimedia Commons.
Can of Neatsfoot Oil. 2008. Credit: Montanabw, Wikimedia Commons.

Barber’s recipe calls for the ingredients to be boiled together and applied by cloth to the joints of the child–minding the lower back as to not weaken the joints. The child must then drink ale with sliced sassafras in it. In the mid-seventeenth century, Hannah Wooley describes a beer with herbs boiled into it as the cure for rickets.[9] The Queen’s Closet Opened (1659) contains a recipe that created an ointment to apply to the weak joints of a child’s body afflicted with rickets.  What these two recipes show is that while the recipes were different, the methods of curing the disease were similar, including ingestion of ale with herbs and application of ointment on joints.  Given that all three recipes provide a similar cure, they suggest the widespread thought and practices in seventeenth-century England. Rickets treatments focused on the results of the problem, from inflammation and skin problems to pain and anxiety. Something, perhaps, for modern physicians to keep in mind.

 

[1] “rickets, n.”. OED Online, accessed 23 March 2013.

[2] Thanks to Rebecca Laroche for the help identifying “Speecke” and “Hayhoes.” See also: “Lavender (Spike) Essential Oil”, Mountain Rose Herbs, viewed 10 May 2013.

[3] “Vervain Herbal Information”, Vervain / Verbena Officinalis Herbal Information. Indigo Herbs of Glastonbury, viewed 10 May 2013.

[4] “Alehoof (Glechoma Hederacea)”, TJ Clark Liquid Mineral Supplements, viewed 10 May 2013.

[5] “neatsfoot oil, n.”. OED Online, accessed 23 March 2013.

[6] “Catnip: Uses, Side Effects, Interactions and Warnings”, WebMD. Viewed 23 March 2013; “nip, n.”. OED Online, accessed March 2013.

[7] “sassafras, n.”, OED Online, accessed 23 March 2013.

[8] “Sassafras: Uses, Side Effects, Interactions and Warnings”, WebMD, viewed 23 March 2013.

[9] Hannah Wooley, The Accomplish’d Lady’s Delight in Preserving, Physick, Beautifying, and Cookery (1675), section 57.

Glennda Bayron is an undergraduate student at the University of Texas, Arlington. She was involved in a class project to transcribe Jane Baber’s recipe book, led by Amy Tigner.

To Make Muske Cakes

By Casey Mitchell

From a cultural perspective, odd foods are a common occurrence in the world today. Individuals from America might be horrified to eat something as foreign as monkey brains–a delicacy in Africa and India–or haggis, the Scots’ age-old recipe for beef-in-a-sheep’s bladder/stomach/what you will. Jane Baber’s Book of Receipts, compiled in 1625, contains several recipes that are, well, interesting, to say the least. Most of them have medicinal qualities of some sort, and, while nutritious, may be pungent or downright aromatic in their own way. One such recipe is “To Make Muske Cakes.”

Now, I know what you’re thinking: “Musk? Like the really smelly ‘perfume’?” Yes, indeed. The very thought of including a glandular secretion from an animal into a recipe sounds fairly disgusting, right? The important part is not in its smell or taste, but its purpose, as musk grain, like most smelly ingredients, is used as “a remedy for very grave diseases known to all antique pharmacopeias”.[1]

The process of obtaining the musk itself is worth mentioning, as it can be long. During the period in which Jane Baber was collecting recipes, musk had been an international commodity for about 300 years. Marco Polo’s journey to the Orient in the late thirteenth century yielded the West’s first real encounter with the identity of the musk deer, the animal responsible for the big stink (pun intended). The animal itself, native to Kashmir, was hunted once a year for the two musk pods contained under the belly of the males, which gave off the odious secretions we’re so familiar with today. Once the secretions congealed, they became very much like coffee grounds, filling the glands with musk grain. According to a modern Kashmiri perfumer, “3 small grains of one gram are sufficient to make a liter of alcoholic perfume”.[1] Taking into account the offensiveness of the musk itself and the amount used in making perfume, Baber’s recipe calls for “2 grains of Muske,” making this a very smelly cake.

musk 1
Contents of a Musk Deer’s Gland. Source: Abdes Attar, www. profumo.it.

Other ingredients include, at the very start of the recipe, “gum dragon” or Tragacanth, to be laid “3 days in Bee water.” The plant itself is used in foods and pharmaceuticals as a binding agent, like flour and eggs in baking, and can be administered medicinally to treat both constipation and diarrhea.[2] The “Bee water” remains something of a mystery, being a possible reference to another early modern recipe entitled, “An aproued medesen for them that have ther water stoped with the stone or Strangrel them & it will make them make water in tow hours”.[3] The recipe itself involves the pulverizing of bees using a wooden mortar and pestle, straining the resulting juice, and drinking it to cure urinary blockages, which plays into the waste-managing qualities of the remaining ingredients of the Muske Cakes. Alternatively, it might refer to the syrupy sugar water used by beekeepers to supplement the diets of bees during late winter and early spring when honey and pollen are scarce. This particular concoction in its modern form is made of a heated combination of water, cane or beet sugar–and a small amount of apple cider vinegar to prevent the sugar from caramelizing, which can harm the bees.[4]

The inclusion of caraway seeds in the recipe fulfills the role of an added spice to the cake itself, which is also comprised of “one new laid eg” and “double refine sugar,” mixed in a mortar and pestle. Because this particular recipe doesn’t call for flour, yeast, or any other composite for making a bread-based cake, one would assume that the gum dragon would render the “cake” into something resembling a flan or Jell-O mold. The recipe calls for “the stuffe” to be laid on “wafers” before being put into the oven, to be made “as hott as you can that they maye bee well bakt.” Because I was so interested in what the final product of this oddity might look like, I searched for and found an image that might closely resemble it.

Musk Cakes 2
Pink Musk Cake Pop Bite. Source: Bubble and Sweet’s flickr photostream, http://www.flickr.com/photos/bubbleandsweet/5037947115/in/photostream.

The differences between this version of what the description referred to as a “Pink Musk Cake Pop Bite” and Jane Baber’s version are many.[5] The main one, however, is that the ingredient of true musk grain is now very difficult to find, given that the musk deer has been hunted almost to extinction. Therefore, the musk utilized in the recipe pictured above is very likely taken from the derivative of a musk plant, which serves the same aromatic purpose, though not the medicinal one. The texture of the cake’s interior, however, appears to be pretty close to what I pictured as that of Baber’s.

While the medicinal purpose of Jane Baber’s musk cake is yet unknown, having possibly some connection with the digestive and laxative properties of gum dragon, its composition remains fairly simple. Its ingredients thereof, including artificial musk, can be found in most markets and health food stores. Buyers beware, however, as the smell of musk in a kitchen may be enough to put off the appetites of others! In short, I would only recommend this recipe to those who have no problem in adopting their own special fragrance.

[1.] AbdesSalaam Attar, “Moschus Moschiferus, The Kashmiri Musk Deer”, www.profumo.it, March 2006. Date accessed, 6 April 2013.

[2.] “Tragacanth”, www.webmd.com. Date accessed, 6 April 2013.

[3.] “An aproued medesen for them that have ther water stoped with the stone or Strangrel them & it will make them make water in tow hours.” British Library, Egerton MS 2608.

[4.] Tammy Curry, “How to Make Sugar Water for Bees” www.ehow.com15 August 2012. Dates accessed, 6 April 2013.

[5.] Linda V. “Pink Musk Cake Pop Bite”, Bubble and Sweet’s Photostream, 29 July 2010. Date accessed, 6 April 2013.

Casey Mitchell is an undergraduate student at the University of Texas, Arlington. Casey was involved in a class project to transcribe Jane Baber’s recipe book, led by Amy Tigner.