Around the Table: The Making and Knowing Project

This month on Around the Table, we have a very special treat. Many of our contributors have been a part of the Making and Knowing Project and we have enjoyed occasional updates on the project throughout the years. Here, we have an update and reflection provided by previous Recipes Project contributor Tillmann Taape, in coordination with his former Making and Knowing team.

In 2014, Pamela Smith founded the Making and Knowing Project, an initiative in pedagogy and research to investigate the intersection of “craft” and “science” in the Renaissance. Combining experimental laboratory work with more traditional ways of doing history, the Project has explored a unique manuscript source, BnF Ms. Fr. 640, a collection of notes and recipes on craft practices from 1580s Toulouse (see Pamela Smith’s introduction to the Project in a previous post on the Recipes Blog). Over the past six years, the Making and Knowing Team and students of Columbia University’s “Craft and Science” seminar have accumulated insights into early modern materials, making processes, and the relationship between nature and human artifice. Some of these previously featured on this blog, in posts on making powder for hourglasses and the role of sensory perception in artisanal expertise. The sum total of our work has recently been published in Secrets of Craft and Nature in Renaissance France: A Digital Critical Edition and English Translation of BnF Ms. Fr. 640, containing intensively marked-up versions of the manuscript text (diplomatic and normalised transcriptions plus an English translation), over a hundred essays by collaborating scholars, “expert makers,” and students, as well as other resources such as a glossary of over 13,000 technical terms in Middle French. [1] Looking back over the past years, our intense experimental, historical, and digital engagement with this fascinating text has changed the way we think about recipes and how to read them as historians.

Recipes, instructions, observations: texts of action

Fig. 1. A page from BnF Ms. Fr. 640 showing headers and text units. Bibliothèque nationale de France, Paris. Source:

Ms. Fr. 640 consists of around one thousand semantic units of text, usually with a heading in a distinct italic script, followed by anything from a few lines of text to several pages of densely-written observations, corrections, and marginal annotations (see Fig. 1). Are these recipes? We started out calling them that, and to be sure, many of them have the structure and elements one would expect of a recipe: a statement of the end product(s), often in the header, enumerations of ingredients, with or without indication of the amount, and instructions for what to do with them, in more or less the intended sequence – sometimes the “author-practitioner,” as we call him, gets halfway through a sentence of instructions and only just saves himself with a “…having first done x.” [2] There is even a group of entries/text units on making varnishes and colouring wood that fits the definition of a recipe like a glove: the great majority start with the imperative prens or prenes (“take!”), the French equivalent of the Latin imperative recipe that gives us the English word for recipe. Four of these are explicitly labelled as a “recipe” (recepte), as in “Another recipe for making varnish” (fol. 73v).

But there are also pages filled with magic tricks, pranks, silly puns, and early modern equivalents of the dad-joke (How do you fix a candlestick to the wall without making a hole? – Have a servant hold it). Other passages break out of the recipe form through their sheer meandering length. Once the author-practitioner gets going on his favourite topic – different types of sand for making casting molds – he often does not stop for at least a few pages. What starts as a note on “experimented sands,” for example, promptly grows into a lengthy discussion of diverse sands and their merits, including the author-practitioner’s own observations and speculations about future improvements, more closely resembling detailed field notes than a mere recipe (fol. 85v–87v). Given this variety, we eventually decided to call these units of text “entries” – a more neutral and capacious term that takes its cue from the overall structure of the text more than the content.

It is clear, however, that the vast majority of entries – “recipes” or not – have one thing in common: they are texts of action. Whether walking potential readers through metalworking techniques or observing how different artisans (from day labourers to goldsmiths) do their jobs, these entries encode sequences of gestures and material processes. The challenge for historians is that writing encodes action imperfectly. However detailed the recipe, there is always much that remains unsaid, and perhaps cannot be said, but only known and experienced by the body performing the action. This is true of modern recipes, of course, but add a few hundred years, and a recipe becomes like a fossilised, flattened husk of a once-dynamic process unfolding in real time. Much of the Making and Knowing Project’s work has focused on how to re-hydrate this instant noodle of practical expertise to the extent where it makes a certain amount of sense to modern historians. Reading alone, it turns out, doesn’t get us very far. With their sparse prose and minimal structure, often only amounting to a list of ingredients and a handful of imperatives (chop, mix, heat, etc.), recipes deflect the kinds of analytic tools that historians are used to unleash on their sources. In a sense, the Project was founded around the idea that recipes and other texts of action become more fully accessible when we place them back in a context of action, reading them with our hands rather than just with our eyes.

Performative reading and emergent knowledge

Thus the Making and Knowing Laboratory was born. Housed in a 1940s chemistry lab at Columbia University, it has been home to cohorts of students’ hands-on reconstructions of objects and techniques described in Ms. Fr. 640. In its drawers and shelves, a peculiar material microcosm has accumulated, from tiny vials of pigments to counterfeit jasper made from buffalo horn to preternaturally preserved plants and animals.

While it seemed obvious from the outset that reconstructing or “acting out” recipes would tell us more than simply reading them, precisely what the payoff would be was not at all clear. In that sense, the Project was itself a true experiment. In a recent article that forms part of a special issue on “Rethinking Performative Methods in the History of Science,” the Making and Knowing Team had occasion to reflect on what we have gained from our reading-by-doing approach to recipes, for both pedagogy and research.[3]

Fig. 2. Foot of a life-cast lizard showing traces of the pin used to fix the animal in place during moulding (detail). Wenzel Jamnitzer, Writing box, c. 1560, silver, 22.7 x 10.2 cm x 6 cm. Kunsthistorisches Museum, Vienna, Kunstkammer, 1155 bis KK 1164. Photograph by Pamela H. Smith and Tonny Beentjes.

One of the key outcomes of hands-on work is that it recalibrates our eyes and hands in a way that allows us to appreciate the material literacy artisans of the past must have possessed. Early on in their research on lifecasting, a technique whereby a real animal or plant is molded in plaster and then cast in metal, Pamela Smith and Tonny Beentjes noted hitherto unexplained knob-like protrusions on the feet of lifecast lizards (Fig. 2). Their reconstruction of lifecasting instructions in Ms. Fr. 640 revealed that these protrusions were caused by metal pins used to fix the dead lizard on its clay base before molding.[4] This performative research produced a more informed reading not only of the text, but also of surviving lifecast objects whose subtle traces of the making process now revealed themselves to the attuned eye.

Starting out as a way of answering pre-formulated questions, reconstruction also turned out to be a powerful way of raising new questions that do not arise from reading alone. The work of making hourglass sand according to a recipe in Ms. Fr. 640 (introduced in a previous post by Stephanie Pope on this blog) involved mixing salt with molten lead. Having got this far, our students balked at the instructions to wash this mixture in water. Would this dissolve the salt and thus undo their work? As it turns out, it does not, but their question sparked further research into the interaction of hourglass sand and water, turning up a fascinating story: until the middle of the eighteenth century, it was impossible to blow an hourglass in one piece, and since there was always a danger of moisture entering through an improperly sealed joint between the two halves, it was imperative that hourglass sand be non-hygroscopic, i.e. non-reactive with water. Thus the hands-on reading of the recipe led to detailed questions about materials, production, and calibration – questions that would not have been raised by a “dry” reading of the recipe.

Other entries encode cultural and spiritual meanings that emerge fully in doing rather than reading. A recipe for burn salve, for example, includes instructions to wash with holy water for specific intervals, measured by the time it takes to recite the paternoster (the Lord’s Prayer in Latin). The connections to religion and timekeeping practices are obvious at first read, but the full extent of their relationship with the process and the final product only emerge when we immerse ourselves in the making process. As we add holy water while reciting prayers, we can witness the dramatic transformation of the transparent yellowish mixture of wax and linseed oil into a thick, fluffy substance of an opaque white – a vivid material instantiation of the spiritual purification implicit in the use of prayers and holy water (Vid. 1).

Vid. 1. Burn salve made according to the recipe in Ms. Fr. 640 (fol. 103r). Note the transformation of the transparent yellow mixture of melted wax and linseed oil into a thick white salve (beginning at around 04:15). (c) The Making and Knowing Project (CC BY-NC-SA).

Such insights from our own experience into the mental and cultural worlds of people in the past are powerful and evocative, but they need to be taken with a pinch of salt. Historians have shown that early modern people had diverse and completely different ways of understanding and experiencing their bodies compared to us moderns. For a start, few of us trained our bodies to specific manual tasks and expertise through years of apprenticeship. And that is before we get into problems of historical authenticity surrounding the use of pure modern ingredients and reading the paternoster off a laptop screen rather than reciting it by heart from lifelong habit. Properly considered, however, these limitations of reconstruction can be turned into a virtue, especially in a pedagogic context. They force students to think carefully about the historicity of materials and embodied experience, and thus help them problematise terms such as “body,” “craft,” and “nature” – categories that historians take for granted at their peril. Future researchers leave the laboratory with a greater critical awareness of what it means to understand material processes and to know by doing rather than through text, both in the present and the past.

All of this underscores a key point about recipes as texts: they are texts of action, and to fully read them, we have to get our hands dirty, however imperfect our modern ingredients and bodies may be for the job. The knowledge encoded in recipes is practical and, to use Pamela Smith’s term, emergent: it unfolds not in the reading, but in the doing. At best, reconstruction allows us glimpses into past worlds of materials and expertise; at worst, it shows us the gaps in the recipe that most early modern artisans or householders would have easily filled in, and the gaping holes in our own mastery of the requisite materials, gestures, and ideas.

The Making and Knowing Project is committed to sharing its own “recipe” for the kind of historical, practical, and digital work that we have been doing. In addition to the Digital Critical Edition, we are preparing a “Research and Teaching Companion” – a scalable template for hands-on teaching and online editions that teachers and researchers can adapt to their own needs. It will be ready in about a year’s time, and we look forward to bringing it to the “Around the Table” series.

Thanks, Tillmann, for the update on Making and Knowing! If you’d like to feature a project, scholar, or institution on Around the Table, please email Sarah Kernan.


[1] Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds., Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640 (New York: Making and Knowing Project, 2020),

[2] Francisco Alonso-Almeida, “Genre conventions in English recipes, 1600–1800,” in Reading and Writing Recipe Books, 1550–1800, eds. Michelle DiMeo and Sara Pennell (Manchester: Manchester University Press, 2013), 68–90.

[3] Taape, Tillmann, Pamela H. Smith, and Tianna Helena Uchacz, “Schooling the Eye and Hand: Performative Methods of Research and Pedagogy in the Making and Knowing Project,” Berichte zur Wissenschaftsgeschichte 43, no. 3 (2020): 323–40.

[4] Pamela Smith and Tonny Beentjes, “Nature and Art, Making and Knowing: Reconstructing Sixteenth-Century Life-Casting Techniques,” Renaissance Quarterly 63, no. 1 (2010): 128–79.

Perpetual Prognostications: Medieval ‘Recipes for Living’

By Melissa Reynolds

The year is 1459, and you are a relatively prosperous landowner in Oxfordshire. Now that spring is in the air, you must go and visit your merchant friend in London, but you find yourself uneasy about the journey. With the poor condition of recently thawed roads, the trip could take as much as two days. Of course, if you had access to GPS or GoogleMaps, you would simply chart your course beforehand and find stopping points along the way. But you don’t have either digital tool. What you have, instead, is a prognostication.

Maybe you own a manuscript similar to Wellcome Library MS 411, a book of medical treatises by well-respected medieval authorities like Arnold of Villanova and Constantine the African, which also happens to contain a series of prognostications on its opening pages. One of these prognostications instructs the reader on how to know the “good dayes” of the year from the “evyl dayes.” It promises to specify which days are good to begin “viagis [voyages] both by water & by lond [land].” You scan the entries and discover that the “second day is profitable” to “travayle by shippe, to do viage [voyage] & to purchase hous & land & to clothe man & woman in new clothes.” You console yourself that all will be well if you leave on the second of April.

Prognostication of "lucky and unlucky days" in Middle English
The opening of the treatise on “lucky and unlucky days” in London, Wellcome Library MS 411, f. 4r.

The prognostications found in Wellcome MS 411 were widely popular in later medieval England, and they are most often found in manuscripts otherwise filled with medical content like recipes and instructional treatises. Some, like this one, established which days were good for which activities—activities like bloodletting, traveling, getting married, and buying or selling property. Others extrapolated predictions from the cycle of the calendar year or the weather. One popular series predicted the weather and harvest yields for the coming year according to whether one heard thunder in a given month. Another series predicted the weather, crop yields, wars, and diseases for the coming year according to the day of the week on which Christmas Day or New Year’s Day fell.

Most often, these prognostications circulated in Middle English or Latin prose or verse, but intriguingly, at least a dozen different medieval English manuscripts contain versions of these prognostications rendered in pictures and icons. The version of the prognostication from New Year’s Day pictured below appears on the front flyleaf of a fifteenth-century manuscript in the Houghton Library at Harvard University. Similar pictorial versions of the prognostication on “lucky and unlucky days,” the prognostication from thunder, and the same prognostication from New Year’s Day, can all be found in a late fourteenth-century manuscript at the Bodleian Library, MS Rawlinson D. 939.

Pictorial prognostication according to the dominical letter from Houghton Library MS Richardson 35
Annual pictorial prognostication according to New Year’s Day (dominical letter) from Harvard, Houghton Library MS Richardson 35, f. 1v.

What should we make of a manuscript like Wellcome MS 411 or Rawlinson D.939 with multiple versions of prognostications copied one right after another? Surely a reader would find inconsistencies or outright contradictions across these multiple sets of predictions? How might a reader determine which prediction to turn to and which set of advice to follow?

To understand how prognostications functioned for medieval readers, I like to think of them as “recipes for living.” Like traditional recipes, they encouraged their readers to move through a set of instructions, drawing from their own observations and experiences to then proceed with a set of actions. Now, it is true that prognostications don’t follow exactly the same format as a traditional recipe, which typically instructs the reader to take some set of ingredients and then do some set of processes that will transform the ingredients into a wholly new substance that is greater than its individual parts. Nor, of course, do prognostications produce a physical product like an ointment or a curative drink.

The comparison makes a lot more sense, however, if we think about prognostications sitting right alongside recipes in medieval manuscripts. Just as compilers chose to record version after version of competing—and sometimes contradictory—prognostications in their manuscripts, so too did they often choose to copy version after version of different recipes to cure the same ailment. All this repetition suggests that medieval people wanted a range of options for managing their health and well-being. They made interpretive decisions about which versions of recipes or prognostications to follow based on prior experience or observation. Prognostications, like recipes, promised a set of predictable results.

Perhaps because of the uncertainty and chaos in the world at the moment, I find myself returning to the perpetual prognostications of the medieval era with a new appreciation. Whereas before I wondered at how obviously intelligent and capable medical practitioners took comfort in a set of verses that offered an impossibly repetitive set of predictions—could medieval readers really have believed the second day of the month to be propitious every month?—I now recognize medieval readers’ desire to impose order on the world through simple “recipes for living.” Though none of us can tell the future, maybe now we understand a little more intuitively how it feels to want to try.

Snails in medicine – past and present

By Claire Burridge 

A treatment for teary eyes (Ad lacrimas oculorum):

Grind together frankincense, mastic, and snails with their shells. Apply to the forehead in laurel leaves in two parts. It is tried and tested.

(Tus et mastice et cocleas cum testas sua simul teris et in folio lauri in duabus partibus fronte impone probatum est)

Figure 1: A group of recipes for teary eyes (Ad lacrimas oculorum) in St. Gallen, Stiftsbibliothek, Cod. Sang. 44 (p. 359), an early medieval composite manuscript (this section was written in northern Italy in the ninth century) – the snail recipe is the last entry of the group (found on the final two lines). The transcription and translation are my own. A digitised facsimile can be accessed here; full reference below.

Medieval medicine is often assumed to be full of ‘hocus pocus’: irrational magical and religious cures, bizarre potions and lotions. Although the work of many scholars has countered this common perception, the negative stereotypes surrounding medieval medicine remain firmly embedded in the popular imagination. And I must admit that, as a historian of medieval medicine, I can understand how such stereotypes have persisted – despite, of course, disagreeing! At first glance, the treatment for teary eyes listed above – which recommends making a poultice from snails, frankincense, and mastic and applying it to the forehead – may sound more like a potion brewed by the witches of Macbeth than a useful medical prescription. Surely snails are better suited to escargot than medicine, right?

Yet our slimy garden neighbours actually have long been included as ingredients in medical recipes, from classical antiquity to the present day. In fact, a number of other RP posts have already touched on pre-modern snail-based prescriptions, such as Laura Mitchell’s post on amusing charms, Lisa Smith’s post on Mary Napier’s ‘Snaile Milke’, and Jennifer Sherman Roberts’ post on snail waters. While several examples have highlighted the use of snails in cosmetic preparations, including Katherine Allen’s post on animal ingredients in the eighteenth century, in my research on early medieval recipes I have come across snails as ingredients in treatments for all sorts of ailments, from headaches and nosebleeds to diarrhoea, spleen pain, and incontinence. Who knew snails were seen to be such a wonderful panacea?!

I have been particularly struck by the use of snails in a number of different treatments for cuts and open wounds. A recipe in BAV pal. lat. 1088, a ninth-century manuscript written around Lyon, suggests the following to heal ‘cut tendons’ (Ad neruos incisos) on f. 45r:

Burn and pound together live snails with their shells, add an equal amount of frankincense, apply. It heals cut tendons.

(Cocleas uiuas cum testa sua combustas et tonsas adiecto libano paripondere inponis praecisos neruos sanat)

Two other ninth-century manuscripts in the Stiftsbibliothek St Gallen, Cod. Sang. 751 and Cod. Sang. 759, contain nearly identical prescriptions, though the former recommends either slugs (limacis) or snails and the latter specifies that the cut was caused by iron (Ad neruus ferro precisus). Similar recipes can also be found in earlier sources, such as Pliny’s Natural History and its late antique descendent, the Medicina Plinii, as well as Dioscorides’ De materia medica.

Why did this tradition of the wound-healing power of snails catch my eye?

Figure 2: Materia medica on the move (slowly) – photograph by author.

As keen RP readers will know, the use of snails in cosmetics was not limited to pre-modern medicine but is, in fact, growing in popularity today (and you can read more on this in another piece from Katherine Allen). Snail slime, the mucus secreted by snails, has been widely marketed as a great addition to skincare products. You can find it in anti-aging serums, moisturisers, and other restorative cosmeceuticals. Given these uses, could snail slime also have applications in medicine? Indeed, snail slime is a hot topic in modern medical research, with recent work highlighting its many benefits, from helping to treat burns to its antimicrobial properties. With respect to wound healing, there are several significant features to note: first, snail mucus is well known to have agglutinant, adhesive properties. More recently, however, research has shown that it also protects against apoptosis (programmed cell death) and promotes cell migration and proliferation – processes essential to wound repair at the cellular level. The combination of snail mucus’ adhesive qualities, promotion of healing processes, and antimicrobial properties is immensely exciting, especially in the fight against antibiotic resistance.

While premodern medical practitioners and authors would not have been thinking about snails and their slime on the cellular level or as antimicrobial agents, their repeated use of snails and slugs, especially with respect to skin-related conditions (wound healing, cosmetics, etc.) suggests that they may have recognised that snail mucus had some medical benefits. So, the next time you encounter someone ridiculing the unusual or unpleasant ingredients in a medieval recipe, you can share with them the long history of snails in medicine – from medieval recipes and their ancient antecedents to current, cutting-edge research.

Full reference for manuscript image

St. Gallen, Stiftsbibliothek, Cod. Sang. 44: parchment, 368 pp., 30 x 21 cm; Part I: Bible, consisting of Ezekiel, minor prophets, Daniel, with Prologues and Capitula – given to St. Gall around 780; Part II: collection of medical texts – written in northern Italy in the ninth century.

Brief Academic Biography

Claire Burridge is currently a Residential Research Fellow at the British School at Rome. She completed her PhD at the University of Cambridge in 2019 and will begin a Leverhulme Trust Early Career Fellowship at the University of Sheffield in May 2021. Broadly, Claire works on early medieval health and medicine and is particularly interested in exploring questions of medical practice and the transmission of medical knowledge during the Carolingian period. Her research draws on a range of disciplines, bringing together textual, archaeological, and biocodicological evidence.

‘A Curious Book’: The Many Functions of Martha Hodges’ Manuscript Recipe Book

By Kate Owen

On the inside cover of Martha Hodges’ recipe book (17-th-18th century), written in pencil, is a note that calls the manuscript ‘a curious book’. Although there is no further explanation from the author of this note as to why they deemed the book so curious, it may well have something to do with the manuscript’s varied content and the signs that point to its multiple functions within the home. Palaeographical evidence in Martha Hodges’ recipe book suggests that it acted not only as a place to document recipes and their efficacy, but was actually a site where domestic life took place.

Martha Hodges’ recipe book is a perfect example of how diverse the content of early modern manuscript recipe books can be. As well as recipes, the manuscript contains prayers, excerpts from Erasmus, and the first account of the  Pied Piper of Hamelin printed in English. The prevalence of religious content in manuscript recipe books may suggest that they were resources that encompassed moral and spiritual well-being alongside the physical.

Martha Hodges Recipe Book, f. 1r. (image courtesy of the Wellcome Library).

As well as its diverse content, Martha Hodges’ manuscript bears signs of multiple uses. The cluttered nature of fol. 1r. reveals at least two uses of the manuscript recipe book. One function of this page seems to be as a place to remember dead relatives. A note reads:

Our Great Grandmother Hodges her receipt book. She was mother to Mrs. Priaulx who was the Grandmother of Mrs Sarah Tilley by Mr Howes marrying her daughter Mrs Mary Priaulx. Her name is written by herself at the other end. She was sister of Dr. Hodges the writer of a large book of receipts.

The note reveals that manuscript recipe books facilitate a relationship between previous and subsequent manuscript owners. The biographical note acts as a family tree and, although this family tree has a focus on the matrilineal, it carefully associates Martha Hodges with the medical expertise of her brother. This suggests that Martha belonged to a household of medical practitioners, a skilled environment which Martha would have learned from and contributed to. This, and the invitation to view Martha Hodges’ name ‘written by herself’, suggests that the note’s author had a great deal of respect for Martha and that the manuscript may have acted as a site of remembrance.

Martha Hodges Recipe Book, f.1r. (image courtesy of the Wellcome Library).

Other uses of this page, however, were less respectful of the memory of Martha Hodges. Smaller and less coherent notes suggest the recipe book may also have been used as scrap paper or for pen-trialling. Due to the price of paper and the use of home-made inks, early modern writers often would test their writing supplies on ‘the nearest available paper, which in many cases would have been in a book’.[1] The ink scratch marks on the recipe book’s inside cover would support such an interpretation. Jason Scott-Warren offers a ‘less dismissive’ interpretation of such marks, arguing that they relate to literacy and are ‘a piece with the practice of alphabets that frequently crop up on flyleaves and around the edges of texts’[2]  Martha Hodges’ recipe book contains evidence to support this idea. Underneath the biography of Martha Hodges, ‘hie hec hoc – April 1 1769’ is written as well as the words ‘I read’.  Towards the centre of the page, ‘booksse’ is written confidently and underneath it is copied in a shakier hand. The page is also littered with the letter W. This would suggest that the page has been used as a space for learning and practising with writing materials.  Further in the manuscript, on fol. 154r., there is further evidence of recipe books being used as a space to practice literacy. On this page, the name William has been practised, paying particular attention to the minims.[3] Kristina Kowalchuk argues that both the kitchen and the recipe book act as educational spaces for the women who owned recipe book  and their female domestic servants.[4] The real question, for me at least, is whether these marks of literacy are purposeful or idle. Thus, have these recipe books been used as scrap paper to practise a certain word before immediately writing it in a ‘cleaner’ manuscript book or letter, or have they been used simply as a place to pass the time. Alongside the repeated ‘Williams’ are some drawings: a house, an animal, and some box-like shapes. Doodles and drawings are not uncommon within manuscript recipe books. Some relate to the manuscript’s content, such as the drawing of a woman cooking from a 17/18th century manuscript recipe book (Wellcome MS1796), and others, such as the doodles in Martha Hodges’ recipe book and the woodcocks from the Springatt recipe book (MS4683), are seemingly unrelated to the topic of the manuscript or have a context that has been lost over time.

To conclude, Martha Hodges’ recipe book had multiple functions within the domestic sphere. For Martha it was a space to document recipes, for at least one of her descendants it was a place to remember Martha, and for others it has been a place to doodle, scribble, and practice their handwriting. The Martha Hodges’ recipe book offers insight into the multiple ways manuscript recipe books functioned within the early modern home and how these texts have been valued by different users over time.

Kate Owen has recently completed her MA, Early Modern English Literature: Texts and Transmission, at King’s College London. She is interested in the many ways early modern manuscript recipe books functioned inside and outside the home. She has also has an interest in the medical humanities and currently volunteers for St Bartholomew’s Museum and Archive. 

[1] Jason Scott-Warren, ‘Reading Graffiti in the Early Modern Book’, Huntington Library Quarterly, vol. 73, no. 3 (2010): 368.

[2] Jason Scott-Warren: 368.

[3] Vertical strokes made when writing, Minims are the main strokes in letters such as m, I, n.

[4] Kristina Kowalchuk, Preserving on Paper (Toronto: University of Toronto Press, 2017), 28-34.