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.

Tales from the Archives: Drinkable Gold for the King of Siam

In my first months of co-editing duties here at The Recipes Project, one of my many delights has been the opportunity to dig back in our archives to rediscover posts I’ve loved over the years, to see them with fresh eyes. As a historian of Japan, I’ve looked forward to exploring and expanding our content on Asia, especially in global exchange. In that spirit, I bring you a classic post on European medicine in Siam (Thailand) from back in 2015, Tara Alberts’ “Making Drinkable Gold for the King of Siam.”

You may also notice several posts on a mini-theme of…shall we say uncomfortable recipes throughout the month of April, including historical treatments for lice and hemorrhoids already available to read (with more to come). Though I’d hardly put drinking gold at the same level of discomfort, and a fleck of gold leaf in a cocktail can still be a decadent indulgence today, I’d hate to see what a bellyful of Parisian golden medicine would do to a poor king’s stomach. Salud!

Making Drinkable Gold for the King of Siam

By Tara Alberts

In a previous post I discussed how early modern Catholic missionaries sought to showcase the most up-to-date European medicines to impress their target audiences. This was also a key strategy used to gain access to royal courts throughout Asia.

At the court of King Narai (r. 1656-88) of Siam, for example, Europeans joined experts from China, India, and elsewhere in Southeast Asia to provide medical advice to the royal family.  Narai’s court was a cosmopolitan place: the king was keen to hear about foreign technologies and theories, and to encourage foreign trade. The French missionaries of the Société des Missions Étrangères de Paris (MEP) were determined to take advantage of the opportunities that this offered.

Narai receiving the French Embassy, 1685. Wikimedia Commons
King Narai receiving the French Embassy, 1685. Wikimedia Commons

This could be easier said than done. It’s likely that the job of concocting remedies fell to René Charbonneau (1643-1727), a lay auxiliary to the MEP who had trained as a surgeon. In a 1677 he wrote a frustrated letter to a friend in Paris pleading for an easy-to-follow recipe written in French for aurum potabile. ‘The king has asked for drinkable gold’, he wrote ‘but we have not been able to manage it. […] Please write down in a letter the method of making it and purifying it for use, and the manner in which it is taken, written out in full in clear French and not in Latin and not in terms of chemistry as I am not versed in that art.’ (Archives des Missions Étrangères [AMEP] vol. 861, p. 41).

Gold-based medicines had ancient precedents in various European and Asian medical traditions. Like many putative panacea they enjoyed a renaissance in Europe in the late sixteenth and early seventeenth seventeenth centuries. [i] There were innumerable recipes available to create aurum potabile, often using gold flakes or powder alongside other expensive ingredients including precious stones, unicorn horn and spices.

Yet since the sixteenth century, many writers had been extremely skeptical about whether such cures could possibly be of use. The chemist Nicolas Lefebvre, in his Traité de la Chymie (1660), denied that they could have any effect on the human body. Mixing gold leaf into medical concoctions and powders, he asserted, was an ‘abuse in Pharmacy that the Arabs have introduced’ (p. 801). Such medicaments could not be effective as the human body contained nothing capable of breaking the gold down. Lefebvre doubted whether any efficacious cure could really be created from gold, but like other compilers of alchemical compendia, he provided a range of common recipes to purify and use gold in a more sophisticated manner.

An alchemist making gold. Oil painting by Hendrik Heerschop. The Wellcome Library, London
An alchemist making gold. Oil painting by Hendrik Heerschop, 1665

It seems that the MEP were attempting to use these sorts of alchemical methods to create a ‘true’ drinkable gold (rather than just creating a medicinal draught with added gold flakes) and that this was proving difficult. MEP missionary Charles Sevin (?-1707) blamed the equipment available in Siam. He explained in a letter to his Parisian superiors that they had brought the necessary ingredients to make the king some huile d’or potable, but the glass retorts they acquired there all shattered before they reached the necessary temperatures. (AMEP, vol. 851, p. 190).

Others confessed that their ignorance of alchemical processes was hindering progress. Charbonneau mentions that he had with him Christophe Glaser’s Traité de Chymie (1667). In this, Glaser explains several different ways of purifying gold, and offers several different methods for rendering this purified gold usable as a medical preparation through fulmination, calcination with mercury, or dissolution in the aptly named ‘royal water’ (eau régale or aqua regia – nitrohydrochloric acid). One recipe for a draught containing ‘diaphoretic gold powder’ for example, recommends that after purification the gold should be dissolved in three drams of royal water to which is added a dram of refined saltpeter. This liquid should then be used to soak small pieces of linen, which, once dried, should be burnt. The resultant ashes should be collected carefully using a hare’s foot or a feather and then used to make a pill or a draught using a small amount of wine or bouillon.

Glaser’s stated aim in writing his Traité was to set out the principles and practices of chemistry in plain language, but Charbonneau complained that he found Glaser’s text confusing. He and his confrères had had some success when they attempted to follow Glaser’s instructions with regards to purifying tin, but they were not confident enough to give a demonstration, nor, presumably, to waste their supplies of ingredients needed to make impressive remedies for the king.

There was a clear incentive to make a particularly impressive version of drinkable gold which would showcase the effectiveness of exotic European recipes, and by extension other branches of European knowledge. Yet even the most up-to-date texts explaining how to create these remedies were useless without the necessary skills and equipment to put the theory into practice. No wonder then that MEP superiors in Siam began soon to lobby for missionaries and lay helpers who were skilled in alchemy to be sent from Paris.

[i] Informative overviews of the history of pharmaceutical gold are provided here by R. Console, and here by M. Hendriksen.

Fertility in the Early Modern Household

Leah Astbury

Domestic recipe books in early modern England abound with remedies to promote conception and prevent miscarriage. Frances Springatt’s recipe book, for example, contained a remedy ‘To help conception and strengthen Nature’, taken morning and night.[i] Notably, the vast majority of these receipts were explicitly for women, and in particular, intended to cleanse the womb. The Boyle family book contained a remedy for ‘Barrenness’ that opened up the womb when ‘shutt up, cleanseth the Same, Cherisheth the Seminal Vessels, Comforteth and Enliveneth the Womb & maketh it fit for Conception.’[ii]

Fig. 2. A woman seated on a obstetrical chair giving birth aided by a midwife who works beneath her skirts. Woodcut. Courtesy of Wellcome Collection CC BY.
Fig. 1. A woman seated on a obstetrical chair giving birth aided by a midwife who works beneath her skirts. Woodcut. Courtesy of Wellcome Collection CC BY.

The historical consensus has been, in Olwen Hufton’s words, that ‘under most conditions’ childlessness was attributed to female incapacity in early modern England. Aside from ‘brewer’s droop’ and impotence from bewitching, early modern people would have failed to consider the possibility of male impediment.[iii] Jennifer Evans’ work on fertility and aphrodisiacs has shown, however, that printed medical guides and advertisements understood problems with husbands, wives, or the couple together as causes of childlessness.[iv] So why then in domestic receipt books are remedies that target the causes of male sterility – weak seed, frail erection and lacklustre desire – so hard to find? This tension between the possibility of male infertility in printed material and absence in personal collections points to a complex system in which women were positioned as the caretakers of fertility, even if their bodies were not at ‘fault’. To revise Hufton’s claim, early modern people did know that men were responsible for childlessness but worked to minimise evidence of this. In this post I’m going to offer a few hints in domestic recipe books of the ways in which wives might labour to improve their own, and their husband’s, fertility without making male impediment or failure known. This is part of a larger book project examining the experience of pregnancy, childbirth, and afterbirth care in early modern England.

Fig. 1. Frances Springatt (& others), Collection of cookery and medical receipts: with later additions by several hands, Wellcome Library, MS 4683. Courtesy of Wellcome Collection CC BY.
Fig. 2. Frances Springatt (& others), Collection of cookery and medical receipts: with later additions by several hands, Wellcome Library, MS 4683. Courtesy of Wellcome Collection CC BY.

The first clue is in the prevalence of recipes that promised to reveal which party was responsible for childlessness. Such tests normally involved husband and wife each urinating on a seed or grain and observing their growth; the seed that failed to thrive indicated sterility. The inclusion of these diagnostic tests in domestic collections indicates at least a willingness to consider male impediment, even if evidence of their use is lacking.[v]

Second, the gender of the intended recipient of fertility recipes was often left unspecified or vague. Two remedies in the Jerningham family recipe book, one to ‘stir up’ lust and another to ‘causeth conception’, did not specify whether they were for a man or woman.[vi] Others were explicit that they could be useful for men and women. Frances Springatt’s remedy to help conception (Fig. 2) included the instructions that ‘man should take of it as well as the woman.’

More evidence can be found in recipes that were designed to be administered before or through the act of sex. Jane Jackson’s book instructed the user to anoint the man’s ‘yard’ with a concoction before sex in order to further chances of conceiving.[vii] Another suggested that both the ‘yard’ and the ‘womans private alsoe’ should be anointed. Then, the husband should simply ‘deale with her; and shee shall conceaue.’[viii] Such remedies configured men as the agent of cure, even if they were actually the intended recipients.

Recipe books did contain remedies to strengthen the yard, but importantly never mentioned sexual function. James Shrowl’s recipe book contained a remedy ‘To heale any Lame Member’ in which the ‘member’ was bathed for half an hour, ‘chaft’ with an ointment and then wrapped in lambskin before bed.[ix] Generation or even the ability to have sex was not mentioned. Many of these remedies were concerned with curing venereal disease and one might imagine rich fodder for the historian of fertility. And yet genital problems in men, in this context, were rarely linked to sexual performance or generative ability, further evidence to suggest that male sexual impediment was more embarrassing than childlessness understood to come from problems with the womb.

A final example from the almanac of Sarah Jinner suggests the ways in which male fertility was expected to be discretely managed by wives. The recipe section in Jinner’s almanac, which she advertised, ‘might be kept in good case and serve to the mutual comfort of man and woman’, included ‘A Confection to cause fruitfulness in Man or Woman.’ This powder, she noted, could be surreptitiously sprinkled ‘upon the parties meat’.[x]

The remedies found in domestic books skirt around the topics of weak male seed and impotence, but reading against the grain reveals the ways in which domestic practice, and in particular wives, might be able to manage male impediment without naming and shaming.


[i] Frances Springatt (& others) 1686-1824, Wellcome Library, MS 4683, fol. 92r.

[ii] Boyle Family, ‘Receipt Book’, Wellcome Library, MS 1340, recipe 312 fol. 86r.

[iii] Olwen Hufton, The Prospect Before Her. A History of Women in Western Europe, vol. 1 (London: Fontana Press, 1997), p. 174. Randolph Trumbach makes a similar argument in The Rise of the Egalitarian Family: Aristocratic Kinship and Domestic Relations in Eighteenth-Century England(London: Academic Press Inc., 1978), p. 167.

[iv] Jennifer Evans, Aphrodisiacs, Fertility and Medicine in Early Modern England (Boydell & Brewer, 2014).

[v] As Catherine Rider has shown on this blog, these tests were not new to the early modern period and can be found as early as the twelfth century.

[vi] Jerningham family recipe book, Staffordshire Record Office D641/3/H/1, p. 63 and p. 67.

[vii] Jane Jackson, ‘Her Booke’, 1642, Wellcome Library, MS 373, fol. 82v.

[viii] Jane Jackson, ‘Her Booke’, 1642, Wellcome Library, MS 373, fol. 83r.

[ix] James Shrowl, 1625-c.1750, Wellcome Library, MS749, unfoliated.

[x] Sarah Jinner, An Almanack and Prognostication for the Year of Our Lord 1659 (London: 1659), sig.B8r.

Making Mr. Song’s Cheeses

By Miranda Brown

The subject of this post may strike readers as odd. The combination of “Chinese” and “cheese” brings little to mind: neither memorable textures, nor fragrant flavors. Nothing, not even a single name like Parmesan or cheddar. The reason for the dearth of associations is obvious enough. Cheese is largely absent from the Chinese diet, nowadays found only in the periphery of the Chinese world, in places like Yunnan and Mongolia, where it is regarded as ethnic food for Tibetans and other minorities.

Yet things were different several hundred years ago. Chinese gastronomes once waxed poetic about the taste and texture of cheese, professing their preference for it over elaborate delicacies. One poet, living in the thirteenth century, extolled the flavor of cheese, saying, “No need for fancy morsels when there is cheese!”[1] Another, living a century later, asserted the superiority of dairy to bean curd. “While this old fellow is content with his tofu,” he wrote, “The delight gotten from cheese is double.”[2]  These early foodies related recipes for manufacturing fresh, non-melting cheeses like paneer and the secrets for creating stretched curds like mozzarella.

Over the last several years, I have experimented with recipes for Chinese cheese, attempting to recapture the flavors and textures of centuries past. One recipe, for stretched-curd “milk threads,” proved tricky. Preserved in a 16thc-cookbook, Song’s Instructions for Preserving Life (Songshi yangsheng bu 宋氏養生部), the recipe can be summarized like this:

  1. Heat cow’s milk until hot.
  2. Pour in a souring agent (akin to diluted vinegar), dripping it into the milk gradually.
  3. Once a curd forms, collect it with a cotton wrap and shape into a disc.
  4. Take the curd and place inside of a pot of scalding water.
  5. In a separate vessel of scalding water, press it into the shape of a thin sheet of coarse silk.
  6. Place the curd onto a stick, rolling and pulling.
  7. Put the curd inside the scalding water in the pot, rolling and pulling three to five more times while in the water.
  8. Roll out the resulting thread, placing it on a rack to dry in the sun (oil can be added to make the product smoother).[3]

This recipe assumes a working knowledge of the cheesemaking process. Hence, the omission of precise measurements. Readers must know beforehand the quantities of milk or souring agent, and the temperature of the milk or scalding water. Needless to say, this presents a challenge to a modern cook who is unfamiliar with cheesemaking.

My first attempts to produce the cheese failed, even with un-homogenized milk. The resulting curds, small and grainy, refused to stretch after being immersed in hot water. I sought help from Youtube, watching videos of Indian housewives making kalari, a non-rennet string cheese that was similar to Song’s stretched curd in terms of ingredients (cow’s milk, vinegar, hot water). I noticed that when coagulating the milk, the home cooks would test the temperature of the milk with their fingers, stopping the heating process once they could no longer keep their fingers in the liquid, rather than waiting for the milk to come to a soft boil as one would when making ricotta or paneer. This made me think that control of temperature was key to success, something hinted by Song’s own directions: heat the milk until hot, not boiling. Still, my subsequent efforts to make the cheese failed despite the care taken during the initial curdling process. I wondered if the pasteurization process, which requires that the milk be heated to at least 165° Fahrenheit, had something to do with my lack of success.

My breakthrough came during a trip to California, where I was able to purchase raw or unpasteurized milk. I heated a quart of the raw milk gently until hot (110° F), then poured in a little diluted vinegar and shut off the heat, all the while continuously stirring the milk. Within minutes, the milk transformed into one large curd.

Figure 1: Raw milk coagulated with diluted vinegar. Image courtesy of the author.
Figure 1: Raw milk coagulated with diluted vinegar . Image courtesy of the author.

I removed the curd and heated a pot of water to simmering, and immersed the curd into the scalding water for a few moments, removing it from the pot and kneading, repeating the process three times. Voilà, an elastic curd that stretched easily.

Figure 2: The stretched curd with the author, made with a quart of milk. Image courtesy of the author.
Figure 2: The stretched curd with the author, made with a quart of milk. Image courtesy of the author.

Looking back at the experience with Chinese cheesemaking, I can say that the success of my experiment depended on a variety of factors: knowledge of arcane texts, watching other cheesemakers at work, and many failed experiments in the kitchen.

Miranda Brown teaches the history of Chinese science and food in the Department of Asian Languages and Cultures at the University of Michigan. Fascinated with recipes of all kinds, she is the author of the Art of Medicine in Early China (2015) and with Yang Yong, “The Wuwei Medical Manuscripts” (2017). She is currently writing a book about the premodern history of dairy in China.

[1] Zhu Xi  朱熹, Zhuzi wenji 朱子文集 (Taipei: Defu wenjiao jijinhui, 2000), 3/110.

[2] Yang, Lian 楊鐮 (chief editor), Quan Yuan shi 全元詩 (Beijing: Zhonghua shuju, 2013), 109.

[3] For a translation of the whole recipe, see Miranda Brown, “Mr. Song’s Cheeses, South China, 1368-1644.” Gastronomica: The Journal of Critical Food Studies (Forthcoming).