Food History Panel Recordings from the Cookbook Conference

By Lisa Smith

In February, I attended the Roger Smith Cookbook Conference in New York. It was a fun conference, with a mix of academics and non-academics. A particular highlight, though, was realising that cookbook authors often bring samples of their food to panels! A delight in the case of cookies, though I’m sure the puppy water I discussed wouldn’t have gone down nearly so well.

The panels, for you recipe and cookbook afficionados, were all recorded and can be found at the conference home page. The panels below were the ones I found most interesting and, not surprisingly, primarily historical…

1. “Filling Our Hearts with Food and Gladness”: Christian Celebration and Food Traditions”

This insightful panel, which focused on medieval food and modern foods with religious origins, included Ken Albala (University of the Pacific), Anne Mendelson, Evelyn Birge Vitz (New York University) and Willam Woys Weaver.

2. “Wartime Cookbooks: Artifacts of Home Front Culture, Tools of Social Engineering, Narratives of Survival”

This was an exciting mix of junior and senior scholars, all of whom provided accounts of the complicated relationships between food, ideology, nationalism, and practice. The speakers included Kyri W. Claflin (Boston University), Barbara Rotger (Boston University), Diana Garvin (Cornell University, Ithaca NY), Ian Mosby (University of Guelph) and Amy Bentley (New York University).

3. “From Disgust to Delight: The Civilizing Influence of Recipes”

The main theme of the panel was how people in the West might be persuaded to incorporate insects into our diet. The panel began with the distribution of chocolate-covered insects, which I could not bring myself to eat despite the best will in the world. This thought-provoking panel raised more questions than it answered. e.g. is covering insects in chocolate really helpful in persuading people to eat insects as a staple food?

Tory Higgins was the final speaker and his argument ultimately failed to convince me. He focused on marketing and referred to successful government endeavours during World War Two–something that had been revealed as problematic during the “Wartime Cookbooks” panel. Speakers included Renee Marton (Institute of Culinary Education, New York), Tory Higgins (Columbia University),Kian Lam Kho, and Margaret Happel Perry.

I ended up speaking on two panels. The longer presentation was for “Personal Manuscript Cookbooks: What Do They Tell Us That Printed Cookbooks Do Not?”  Steve Schmidt provided an introduction, described his project The Manuscript Cookbooks Survey and gave an overview of what manuscript recipe books can tell us. Peter Rose’s talk, which begins at 23 minutes, discussed early modern Dutch recipes in New York.  Sandy Oliver (starts at 42 minutes) considered what she has learned from a number of manuscript recipe books. My own talk (1:02-1:19) was about why researchers should not overlook the medicinal recipes in collections.

In addition, I spoke for five minutes (from 25:20) during a “Digital Show and Tell”. I introduced the Textual Communities platform for teaching manuscript recipe transcription and the crowd-sourcing plans of Early Modern Recipes Online Collective. (See also my previous post for further details.) There are some other really interesting digital projects out there! One that caught my imagination was described by Jill Adams (Ph.D. student, CQ University Australia) about 20 minutes in: “The Cookbook in a Day Project“.

There were an intriguing selection of panels at the conference, allowing researchers and cookbook authors to think historically, culturally and practically about food. As an added bonus, the conference was also a great excuse to spend a few days in New York…

Sticky eyes or weeping wounds: trying to interpret the Pozzino tablets

Thousands of pharmacological and cosmetic recipes have come down to us from the Greek and Roman world. On the other hand, archaeological discoveries of ancient remedies are few and far between, and findings that can be analysed chemically and botanically are even rarer. Recently, ancient medicine made the news with the publication by a team of Italian scientists of the chemical analysis of remedies found aboard a Roman shipwreck – the Pozzino shipwreck, second century BCE [1]. The ship carried numerous pharmacological preparations, some of which are still in the process of being analysed (see here for more detail), and the publication focused on six roundish tablets preserved in a tin box. The scientific analysis revealed that the tablets contained 80% of inorganic materials, mainly zinc oxide and hematite, as well as starch, beeswax, animal and plant fats, pine resin, and other plant remains.

The tin box (pyxis) in which the tablets were found
The tin box (pyxis) in which the tablets were found

The authors of the article, referring themselves to ancient treatises on simple medicines (that is, treatises dealing with one pharmacological ingredient at a time), suggested that these tablets are eye remedies. A search (with the help of the electronic database of ancient Greek texts – the Thesaurus Linguae Graecae) through ancient collections of pharmacological recipes also shows that zinc oxide and hematatite were used together in the treatment of eye diseases, as in the following example, which is extracted form Galen’s collection of Medicines according to Places :(second century CE)

Sweet-smelling remedy of Syneros against long-lasting ailments [of the eyes]: it works against eye-discharge and lachrymal fistula: cleaned Cadmia [zinc oxide], 28 drams; hematite stone, burnt and washed, 25 drams; Cyprian ash [i.e. copper], 24 drams; myrrh, 48 drams; saffron, 4 drams; Spanish opium-poppy, 8 drams; white pepper, 30 grains; gum, 6 drams; dilute with Italian wine. Use with an egg. (Galen, Compositions of Medicines according to Places 4.8, 12. 774 Kühn)

This recipe, like many others, gives very little indication as to how the remedy should be prepared. I would suggest that all dry products should be crushed together in a mortar; diluted in wine and moulded into tablets. These should then be dried and dissolved in a liquid (here an egg) when needed. The modern reader will wince at the use of pepper in eye remedies, but making the eyes cry appears to have been one of the aims of ancient ophtalmological preparations, one of which was so unpleasant it was called ‘the thankless’.

Powdered zinc oxide

While zinc oxide and hematite stone would confirm an interpretation of the tablets as eye remedies, fats, resins and waxes are rarely listed in ancient ophtalmological recipes. To find an ancient recipe combining mineral ingredients, wax, fat and resin, one must look at formulae for cicatrization. The following example is attributed to Asclepiades (first century BCE) and preserved by Galen:

Asclepiades wrote the following concerning cicatrizing poultices…: burnt zinc oxide prepared with wine; roasted copper; of each 16 drams; wax, 80 drams; Colophonian resin, 8 ounces; sufficient amount of Italian wine. Crush the copper and zinc oxide with the wine, until the preparation has the consistency of wet cerate. Break the wax and resin into pieces, place in a ceramic vessel and add to these 1 litra of myrtle oil. Place on coals and stir continuously. When the ingredients have dissolved, remove from the fire and let the preparation cool down. Add the crushed ingredients, mix together, and use diluted with myrtle oil. (Galen, Compositions of Medicines according to Types 2.14, 13.524 Kühn)

Experimentation would be required to determine the exact consistency of this remedy, but it is clear that it would have been much waxier than the Pozzino tablets. And here is the crux of the problem: it is impossible to find a recipe that lists all the ingredients entering the composition of these pills. And the same issue occurs every time scholars try to bring together written and archaeological sources in the field of ancient medicine. Some scholars will argue that many written recipes have been lost; others that every physician and pharmacologist in the ancient world had his own ‘secret’ recipes that were never written down. Whatever the case, the fascinating discoveries relating to the Pozzino tablets offer much opportunity for archaeologists, chemists, ethnopharmacologists and medical historians to collaborate and establish sound methodologies to bridge the gap between material and written pharmacological evidence.

[1] Gianna Giachi, Pasquino Pallecchi, Antonella Romualdi, Erika Ribechini, Jeannette Jacqueline Lucejko, Maria Perla Colombini, and Marta Mariotti Lippi, ‘Ingredients of a 2,000-y-old medicine revealed by chemical, mineralogical, and botanical investigations’, PNAS 2013 110 (4), 1193-1196

The Strasbourg Tradition of Artists’ Recipe Books (1400-1570) Part II: Between written and oral transmission

By Sylvie Neven

The literature of artistic and technological recipes frequently serves as a source for historical study in art technology. However, to date, the nature and the original function of artists’ recipe books have not been clearly determined. The relevance and the reliability of this form of writing continue to be issues debated by scholars, with no conclusions forthcoming. Two different hypotheses have been put forward regarding the aim of this type of literature. On the one hand, these texts have been seen as manuals that may have been used by artists. On the other hand, these recipes often seem to have been transmitted for the purposes of literary preservation, not directly connected with contemporary workshop practices.

During my PhD research, an attempt to answer these questions was made using a delimited corpus of such recipe books written during the fifteenth and sixteenth centuries : the ‘Strasbourg tradition’. Focusing on the sources themselves, I have combined historical and codicological analysis on the one hand, and philological and critical textual study on the other. In so doing, I have considered the processes of making, compiling and disseminating of these written sources.

Actually, the manuscripts of the Strasbourg tradition were compiled from three kinds of sources. Firstly, the largest part of their content comes from the copying and the compilation from other written sources. In this case, it can be either older or quoted authorities or contemporary (and quite often anonymous) works. These processes are perceptible through the very important component of textual similarities found in the manuscripts of this tradition. Obviously, religious institutions – and their libraries – from which I have previously determined that most of the manuscripts of the Strasbourg tradition originate, appear to be a privileged place, offering scribes the opportunity of copying and compiling such collections. Moreover, several scribes have given information concerning the resources they used for compiling the manuscripts of the Strasbourg tradition. In fact, they collected data from the libraries of neighbouring cloisters. For example, during his stay at St. Ulrich’s and St. Afra’s Cloister (Augsburg), Wolfgang Seidel the author of two recipe books of this tradition[1] made use of the cloister’s vast collection of books, as attested in his commentaries:

So vill vom geschenckh hab ich auss der liberej des closters zw sant vlrich zw Augspurg lassen abschreiben durch ain knaben des namen ist Walthasar Gech von Fiessen im 1550 Jahr [2]

Secondly, the scribes also cite the authorities from which they have obtained practical information. These authorities may be either practitioners (artists) or contemporary scholars. The artists whose names are  mentioned in the texts were mostly working near the area in which the recipe books were produced. In the Strasbourg Manuscript, the anonymous scribe states that the data he has recorded came from the teaching of two persons, namely Heinrich von Lubegge and Andres von Colmar as suggested by the opening sentences: ‘Dis ist von varwen die mich lert meister heinrich von Lübegge’ (‘This is about colours as Heinrich von Lübegge taught me’) and ‘Dis lehrt mich meister Andres von Colmar’ (‘Andres von Colmar taught me this’). One person has been identified as Andreas Claman, who was painter and goldsmith, active in Strasbourg during the second half of the fourteenth century.

Exchanges are also known to have taken place between scribes and contemporary scholars. For example, Wolfgang Seidel specifies several times that he is indebted to the Bishop of Freising for some recipes that he subsequently includes in his recipe books. Seidel also cites Bartholomew Schobinger, a jurist from St. Gallen, who is famed for his deep interest in natural sciences and alchemy.

Finally, some recipes could correspond to a personal contribution of the scribe. It is interesting to note that the scribe of the Strasbourg Manuscript uses the first-person singular, which is relatively rare in artists’ recipe books. Moreover, he clearly explains that he is divulging his own training:

Now, I want to teach how one should temper all the colours with glue to apply them on wood, on wall or on textile.

In the first folio of the Cgm 4118, Wolfgang Seidel explains that for the writing of his recipe books he has used both written –and older- sources and information collected from his contemporaries, but he has also refered on his own practical experience:

De arte fusoria Rhapsodia partim ex uetusta quadam Biblioteca, partim uero bonorum amicorum colatione cum sumata, opera autem et labore fratris Wolffgangi Sedelij in vnum collecta in solacium et commodum fusorie artis studiosorum[3]

The diversity of sources and persons from which these collections of recipes derive can be seen in relation to their context of creation and their function. These manuscripts were mostly written in religious centres and circulated outside the artists’ workshop. One might suggest that they played a more important role in the conservation and transmission of artists’ knowledge than in the teaching of artistic practices, reflecting the workshops’ activity. In parallel, some of these recipe books may be used to identify specific, datable practices, especially when their compilers specify the name and/or place of origin of the artists (or the authority) from whom they obtained their information.

For the first post in this series on artists’ recipe books, please see my “Restoring a lost artists’ recipe book“.

 

[1] Munich, Bayerische Staatsbibliothek, Cgm 4117 and Cgm 4118.

[2] ‘So many presents I have let copy from the library of the Cloister St Ulrich in Augsbourg, by a young boy who’s name is Walthasar Gech von Fiessen in the year 1550’, Munich, Bayerische Staatsbibliothek, Cgm 4118, fol. 128v.

[3] Munich, Bayerische Staatsbibliothek, Cgm 4118, f. 1r.

Exploring CPP MS 10a214: Looking for Anne Layfielde

By Hillary Nunn with Rebecca Laroche

In an earlier post (18/10/2012), blog readers were introduced to a recipe book found at the Historical Medical Library of The College of Physicians of Philadelphia.  The volume’s ownership inscription reads, “Anne Layfielde / her booke of /Physicke & / Surgery / 1640,” and the entries within it appear in a wide array of hands and link recipes with the names of well over fifty contributors.  Rebecca Laroche noted that the name “Elizabeth Downing” appears in conjunction with many of the collection’s recipes.  I had worked with the same manuscript, MS 10a214, during my visit to the College of Physicians of Philadelphia in 2010, and Rebecca and I soon began discussing the challenges of situating this particular volume in time and place.  We realized that this forum offers an ideal venue for discussing those challenges, and we are embarking on a series of posting about our work with the manuscript.

A logical place to start seemed to be with the woman who claims ownership, Anne Layfielde. Who might she be?  The Oxford Dictionary of National Biography lists several Layfieldes living in the mid-seventeenth century, but all of them are male; no entries mention wives or daughters named Anne.  Working on the theory that Anne’s book might be part of a larger web of domestic texts, we conducted a full text search in the Wellcome Library’s online catalog, which indexes the names mentioned in many of its recipe books.

The search reveals four hits on the name “Layfield,” all appearing in M.S. 8575.  That volume’s opening pages feature the inscription “Mr Richard Holland his booke 1648,” providing a likely historical overlap with the College of Physicians of Philadelphia volume, dated 1640.  The Holland book attributes three recipes to a Mrs. Layfield – one for a “Brimstone Drink for Shortness of Breath,” another for “a very good poltice for a sore breast or any swelling,” and another for a “Seesing Powder” meant to relieve lightheadedness.

But it is the fourth return in the “Layfield” search that offers the most tempting – perhaps dangerously tempting – possibilities.  The recipe for “a sore breast which was feard might turn to a cancer” reflects a different tone from the other three Layfield recipes, perhaps because it comes from a “Mr Layfield,” not the earlier-named Mrs.  The questions this invites are far reaching:  are the manuscript’s Mr and Mrs Layfield husband and wife?  It is easy to assume they are at least members of the same family, if not of the same household.  Did Mrs. Layfield suffer from breast cancer, a condition whose treatment Mr. Layfield might have overseen, or at least witnessed?  The unusual opening line – “The surgeon saide the chief cure was in a good Diet” – introduces the entry as more of an anecdote than a recipe, one where medical authority comes from an unnamed professional.  And, just as importantly, the manuscript offers no clue as to who this Mr. Layfield might be, or where or when he lived.  It only seduces us into envisioning a potentially tragic story involving his household’s medical woes.

The possibility of such a family narrative makes the reference enticing, though its dramatic allure may be misleading.  But, as our ongoing work with the manuscript will show, these searches can unearth intriguing stories, even if they are unrelated to the projects that helped bring them to the surface.

 This is the first in a series of monthly posts on this topic.

Food, Magic, Art, Science, and Medicine