I was invited to join the Recipes Project by Lisa Smith in 2012 when I was a freshly minted medieval studies PhD working part-time at the University of Saskatchewan. I was lucky enough to be present at some of the earliest meetings about this idea Lisa and Elaine Leong had. My first post went online a few months later, in September of that year. Eventually I took over the social media duties from Lisa and I now control the Facebook and Twitter feeds (although Lisa sometimes still jumps in!).
Since 2012 I have moved provinces to Toronto, left academia, worked a year as a freelance researcher for a design company, and now work at the University of Toronto as a project manager for a grant-funded research project, Digital Tools for Manuscript Study. My time now is mostly taken up with budgets and coordinating people and schedules instead of teaching or research.
The Recipes Project has been a terrific outlet for the research I did as a graduate student and a way to disseminate some of my favourite bits of my dissertation. Once I decided to leave academia I knew that the chances that I’d publish any of my former work was pretty low – blogging seemed like a natural solution. I could write about topics like farting, love, and censorship in magical texts to my heart’s content. It was also exciting/scary to know that my writing was reaching an audience of several thousand, which is certainly more than a traditionally published article would reach!
I took over social media duties in 2014 and I have really enjoyed being able to take an active part in the project in this way. Through the Twitter feed I’ve encountered a huge range of people and projects outside my field of study; it’s been fascinating to see what researchers in other time periods and geographic areas are working on, and I enjoy sharing these finds with our Twitter and Facebook followers (fun fact: as I am writing this The Recipes Project has 933 likes on Facebook and 7,053 followers on Twitter!). The online community around the Recipes Project is very enthusiastic about what we write about and it’s always interesting to check our notifications to see how our followers respond to us. We have even recruited contributors through Facebook and Twitter! I feel very privileged to be a part of this project and see it grow from an idea into the thriving community it is now. The Recipes Project is really a testament to the good scholarly work that can be accomplished in online communities and through social media.
Happy May Day everyone! I am very excited to be on-point editor for the 2017 May edition of The Recipes Project. Living in Germany, where there is a ‘saison’ or a ‘- zeit’ for almost everything – Spargel (asparagus), Erdbeerkuchen (strawberry cake), Kurbis (pumpkin), Pflaumen (plums), Balkon (balconies – meaning party time!), I have grown accustomed to anticipating and welcoming the changing of seasons. Further inspired by the official first day of summer, I decided to invite a group of like-minded contributors to explore the theme of seasonality in this month’s edition.
In fact, both the joys and constraints of seasonality have been on my mind in this academic year. In the fall, through reading the letters between Johanna St. John and her steward Thomas Hardyman, I gained insight into the complex planning strategies used by early modern householders to ensure a table laden with enticing food and drink. Johanna’s frank instructions offered a glimpse into the everyday pressures faced by mistresses and servants to guarantee turkeys at Christmas, uninterrupted supplies of fresh butter, cheese, bacon all year round and a beautiful show garden in the spring and summer months. The letters very quickly revealed that whilst the St. John household was busy all year round, certain times of the year were particularly task-filled as the household collective strove to seed, cultivate and harvest and to preserve foodstuffs and produce medicines by sugaring, candying, distilling and brewing. The profound impact of the changing seasons on food and medicine preparation does not come as a surprise to those of us who spend time in recipe archives and, indeed, in the recent years there have also been contemporary calls to return to the land. For example, Johanna’s struggle with raising turkeys prompted me to revisit Barbara Kingsolver’s thoughtful Animal, Vegetable, Miracle where the author writes engagingly about her adventures in rearing heritage turkeys. As I cycle past the asparagus stands (soon to be strawberry stands) on my way to work, I relish the fleeting joy of spring produce and concurrently breathe a sigh of relief that, thankfully, I can rely on Germany’s specialist strawberry grower Karl’s to pick and make the delicious Erdbeer Traum (strawberry dream) jam which my family so loves in our Victoria Sponge Cake.
Commissioned during the ‘hungry gap’, this month’s posts work together to interrogate notions of seasonality in historical recipes across a range of geographical and temporal contexts and knowledge spheres. Food historians Rachel Snell and Molly Taylor-Polensky examine the technologies and methods used to preserve seasonal produce for year-round consumption and the various cultural reasons driving this work. Taking a slightly less sunny stance and drawing upon the recipe notebook of Rebeckah Winche, literary scholar and ecofeminist Jennifer Munroe prompts us to re-examine our interdependent relationship with other animals, plants, soil and climate on our planet.
Of course, notions of seasonality extended well beyond food and medicine, as art historian Jenny BoulBoullé shows that artisans and craftsmen were also keenly aware of the effects of changing seasons. Representing the flourishing Artechne project, Jenny’s post reminds us of the importance placed upon season by both pre-modern artisans and 19th and 20th century scholars who so eagerly attempted to reconstruct historical recipes. Taking us into the realm of alchemy, Tillmann Taape discusses how distillation processes were used to make medicines and human bodies prevail against seasonal cycles of generation and decay.
Turning to the Chinese context, He Bian explores a late 14th century guide to living seasonally and introduces readers to the various recipes for food and medicines included within. Examining later readings and discussions of the guide, He questions whether seasonality, a classic theme in ancient Chinese medicine, came under critical scrutiny of early modern scholars. Our edition closes with a post by Caroline Petit who, taking us back in time to the ancient world, examines an intriguing story told by Galen. Taken together, these posts highlight the continued role played by seasonality in recipe practices and knowledge.
I hope that you all enjoy this special issue of The Recipes Project!
In 1813 or 1814, somewhere in Hertfordshire, England, an anonymous local wrote out “Count Rumford’s receipt for making a cheap soup as much as will feed sixteen or twenty people,” adding his own tips on proper preparation and service. Its base consisted of four pounds of potatoes and one pound of either barley meal, peas, or rice, simmered long and low and flavored with a little boiled bacon, salt pork, or herring. Doubtless protesting too much, the writer assured readers that the soup would be “perfectly savoury” if ladled over a few wheaten bread bits fried in salt butter or beef drippings. In any case, the final product’s defining trait was not flavor but heft; when chilled, the copyist explained, the soup would resemble a “very strong jelly…weighing near twenty pounds.” Cooking so much at once was key, he concluded, as doing so kept fuel expenses down to a mere ten pence per batch.
Since coming across this recipe in the Hertfordshire Archives last year, I’ve thought many times about making it, only to be halted by a mind-flash of David Foster Wallace’s indelible description of cruise-ship caviar: “blucky.” And yet, blucky though it may have been, this particular soup was ubiquitous. Indeed, during the first two decades of the nineteenth century, long before Starbucks, McDonalds, or the pre-packaged, mass-produced bounty of the Kroger canned goods aisle, a person could get a bowl of it in London, Madrid, Paris, Rome, Munich, several cities in the United States, and many places in between. There was only one catch: you had to be too poor to pay for it.
Our man in Hertfordshire had, he freely admitted, cribbed the recipe from Count Rumford of the Holy Roman Empire. Among the best known social reformers of his age, the count was in fact Benjamin Thompson, a Massachusetts-born loyalist who, while splitting time between England and Germany, managed to become one of the best-known scientists and social reformers of his day. Backed by the elector of Bavaria (who, in gratitude for his services, gave Thompson his noble title) and based in a disused Munich manufactory, Rumford experimented with and wrote about food throughout the 1790s. For him, soup was the technical solution to the vexing problem of feeding the poor – it was, he argued, a kind of nutritional battery that stored energy from fuel and transferred it to human beings more economically and efficiently than any other form of food.
People far and wide read, and agreed. In 1804, the Real Sociedad Matritense de Amigos del Pais opened five “soup houses” in Madrid’s poorest neighborhoods, with more in the works: in 1812, Napoléon Bonaparte himself ordered a free, daily distribution of two million servings of “so-called Rumford soup” to French citizens suffering through a severe economic downturn. Even Rumford’s old countrymen took note. “The economic soups are well-known, and the name of Count Rumford is immortal,” blared the Salem Register to its Massachusetts readers in 1803.
In an important sense, then, the recipe I saw in Hertfordshire was but one part of a trans-Atlantic conversation about the great, pressing problem of the early nineteenth century: how to ensure order in an age of participatory politics, social upheaval, and harvest-disrupting warfare. The economics of producing and consuming food loomed large as revolutionaries and post-revolutionaries – from Toussaint Louverture to Gracchus Babeuf to Thomas Jefferson to Thomas Malthus – proposed solutions which involved re-envisioning the distribution and disposition of land or curbing consumption and reproduction to foster stable new régimes.
Long before Marx, however, Rumford advanced soup as the opiate of the masses; or, taking a wider view of his work on heat, he put the “therm” in “Every revolution has its Thermidor.” That is, as he straddled the American and French revolutions, Rumford tried to forestall further revolutions by training his Atlantic Enlightenment on the humble soup kitchen – a maneuver that resonated with a generation puzzling over the problem of order. So, while it is just a soup recipe (and possibly a blucky one at that), Rumford’s particular soup can, I think, serve as a point of entry to another origin story. Indeed, the results of his research, including not just soup but the drip coffee pot, the stove-top range, and the much-celebrated Rumford fireplace, hint at the beginnings of the great, enduring bargain of post-revolutionary modernity that continues to inform our politics – order in exchange for cheap foods and consumer goods that provide nourishment, comfort, and distraction.
Christopher Hodson is associate professor in the Department of History at Brigham Young University in Provo, UT. He is the author of The Acadian Diaspora: An Eighteenth-Century History (Oxford, 2012) and is completing, along with his co-author Brett Rushforth, a history of France and the Atlantic World from the Crusades to the Age of Revolution. He hopes to begin work on a cultural biography of Benjamin Thompson (better known as Count Rumford of the Holy Roman Empire) in short order. He is, for the record, pro-soup.
Slipped within Anna Maria Luisa’s recipe collection is a small bound pamphlet that instructs the user how to tint or dye white marble various colors. In just sixteen pages, the unknown author details the ingredients, processes, and necessary apparatuses needed to create three different reds, two blues, three yellows, three greens, and even fake the signature black or grey veining of “pavonazzo” marble. While the secret to tinting natural looking marble was certainly valuable artisanal knowledge, it is the last three pages of the booklet that are particularly interesting. Without explanation, the pamphlet suddenly shifts topics and details “a particular secret for a styptic water that quickly stops bleeding wounds and torn guts.” The descriptive title continues by suggesting that you can “try it on a rooster by piercing its head with a sharp needle, and the rooster will heal in fifteen minutes.”
The first step of the recipe instructs to dissolve a quarter of an ounce of rock alum in one ounce of “acqua rosa” (rose water), which was then added to a quart of “allume bruciato,” or calcined aluminum sulfate. This mixture was then placed in a “digestione,” which was an alchemical apparatus for distillation that dissolved a body in water or alcohol over mild heat. The recipe calls for the mixture to be heated for an hour and until clear. The second step in the recipe is to dissolve a quarter of an ounce of lead acetate in an ounce of distilled vinegar with one forth of pulverized candied sugar. For the third step, a fourth of pulverized copper sulfate from Cyprus is added to an ounce of “acqua di piantagine.” The fourth step calls for calcined red, or Roman vitriol (sulphuric acid) to be boiled with two ounces of urine from a healthy creature. The fifth and final step is to combine an ounce of strong lime into an eight of sublimated and pulverized mercury, which is “digested” to a clear heat for an hour. Once these five steps are completed, everything is to be mixed together in a flask for sublimation and to “digest” for twelve hours.
When I first came across this recipe I was unsure what to make of it, and its inclusion in a pamphlet dedicated to the act of tinting marble perplexed me. But as it turned out, this funny little pamphlet held the key to better understanding Anna Maria Luisa’s recipe collection as a whole. Recipes collected by women are traditionally viewed as domestic manuals used to safeguard the health of the home and treat commonplace illnesses. In general, and as previously discussed here on the Recipes Project, recipes were “repositories for useful knowledge” and share a desired goal to unlock nature’s secrets. In the case of Anna Maria Luisa, however, useful knowledge extended beyond the preparation of simples and household medicines. Her recipe collection reveals an interest in collecting and amassing experiential alchemical knowledge. The creation of styptic water used the same ingredients, apparatuses, and alchemical processes detailed and drawn in the recipes for marble dyes that preceded it.
In addition to highlighting one Princess’s interest in alchemy, this pamphlet also speaks to two important issues when studying early modern recipes from a modern perspective. First, science, medicine, and technology at the late Medici court existed in a world in which our modern categories of knowledge simply did not apply. In eighteenth century Florence, artisanal practices, science (or natural history), and medicine were closely connected thanks to alchemy. For the late Medici court, alchemy was not associated with the mysterious or the occult. Alchemy was an applied science that used experimental activities to investigate and transform nature. These practices produced experimental activities in metallurgy, refining salts, producing dyes and pigments, the manufacturing of man-made gemstones and stones, glass and ceramics, and the creation of chemical medicines. Each of these seemingly disparate pursuits were united by process rather than the specific product produced.
tThis early modern emphasis on process over product brings me to the second issue concerning the studying early modern recipes. While recipes are certainly important historical objects, they are often closely associated with or celebrated for the product they produce. This emphasis on product over process, however, can belie the true value of many recipes. As is in the case of the styptic water. Was Anna Maria Luisa interested in tinting marble or was she interested in better understanding complex alchemical processes that could transform nature and the human body? Thanks to this pamphlet, I now argue the latter.