Citizen-humanist (& one of our fabulous volunteers) @Greensleeves made a delicious sounding cherry brandy earlier this year using a recipe from Shakespeare’s World. It involved steeping cherries in brandy for months, with sugar, cinnamon & cloves. If you fancy trying out some of our ‘drinks’ recipes too, here are a selection taken from the project thus far. The main ingredients are also noted below. Most list water as an ingredient, though it is referred to differently as cold water, fair water, spring water or raw water. Another theme they have in common is time (you will need the patience of 6 or 7 days, 3 weeks…etc!). A huge thank you to all of our citizen-humanists who tagged &/or transcribed these recipes.
To make Wine of graps:-
Ingredients: clusters of grapes, including the rotten ones!
Ingredients: 1 cockerel, 2 quarts of the best sack, 8 gallons strong ale, 4lb raisins, 1/4lb dates, a large nutmeg, cloves, mace & sugar.
Ingredients: 8 lemons, 2lb sugar & spring water.
To make Goosberry Wine
Ingredients: 12lb green gooseberries, gallon raw water & sugar.
To make a pleasant Bitter
Ingredients: 1 quart brandy, the peel of a dozen oranges, 1 ounce gentian, a little saffron & cochineal.
to make mead. Sister Alsop
Ingredients: 1 gallon honey, 6 gallons cold water & a crust of brown bread.
A Summer Water
To make a Water to Drink in Sommer
Ingredients: strawberries, cinnamon, fair water & cloves.
Elderberry Ale & Rhubarb Ale
And finally here are the two most popular ales over on @shaxworld…
By Sarah Powell
Sarah Powell is the EMMO Paleographer at the Folger Shakespeare Library: on Shakespeare’s World Talk as @S_Powell
Our kitchens are filled with paper. We make our morning coffees by dripping water through a paper cone filled with freshly ground coffee grinds. We wrap our sandwiches for lunch in wax paper and line our cake tins with baking paper. Dry kitchen paper is often used to dry food before deep drying and damp kitchen paper is often used to preserve freshly cut herbs in the fridge. Many different kinds of paper thus aid us in performing a variety of quotidian tasks in our homes. Paper, in fact, might be the unsung hero in modern kitchens. Recently, as part of a new research project (more on that here), I began to wonder whether paper also performed similar roles in kitchens of the past.
Early modern recipe collections record detailed instructions to produce foodstuffs and medicines and are revealing of the way householders carried out a range of daily tasks in early modern homes. In fact, they are ideal sources to explore paper-use in pre-modern kitchens. However, the sheer number of recipes in the hundreds of surviving recipe books, each containing scores of individual recipes, makes the search for paper-use a little overwhelming and, at times, challenging for a single researcher. In short, I desperately needed the help of the Shaxworld community!
Luckily for me, over the last few months, the kind and wonderful members of Shaxworld have been tagging instances of paper-use in recipes with the label #paper. So far, around 20 recipes in 10 different recipe collections have been identified.  A glance through these reveals that, like today, paper served a multitude of uses in the home and was a used as a tool in both food and medicine production. Two common usages emerge from our sample: paper was used to line cake/biscuit tins and to apply ointments and salves. A few months ago, I took a look at paper used as plasters for The Recipes Project blog and so today I’d like to further explore uses of paper in early modern baking practices.
Within our sample, seven recipes use paper as a kind of liner. The recipe book for Margaret Baker, for example, has a recipe to make Jumballs (a kind of fine sweet cake or biscuit). The recipe advises users to warm and ‘creame’ together flour, sugar, egg whites and rosewater and ‘mould’ the resulting light paste in caraway or coriander seeds. These are then shaped into knots and baked on ‘flowered papers or tinn plates’ (Folger MS V.a.619, fol. 95r). Another recipe to make ‘Speciall Cake bread’ in the cookery book of a ‘L. Cromwell’ advises the baker to ‘take a browne paper & dry it very well & strowe it with flower & lay it under the cake’ (Folger MS V.a.8, p. 127). In the early modern period, the brown paper was often used as a wrapping paper of sorts by grocers etc. The request here to ensure that the paper is dry suggests that ordinarily the brown paper might be damp or wet in some way – perhaps this is a case where the brown paper was first rinsed and then reused? Aside from the cheaper brown paper, more expensive white paper was also used to line cake tins. Examples include the recipe ‘To make very fine cakes’ in an anonymous recipe collection (Folger MS V.a.19, p. 132) and a recipe to make marchpane (Folger MS V.a.364, the recipe book associated with Nicholas Webster, fol. 12v-13r) which both suggest the maker to bake on sheets of white paper.
In addition to lining cake tins and biscuit sheets, paper was also used to shape baked goods. A recipe for almond lozenges tells the maker to ‘fashon’ as they like upon plates or paper moulds (Folger MS v.a. 8, p. 133). Another recipe for cheesecakes recommends the baker to ‘pin papers about them to prevent their falls’ during the baking process (Folger MS V.a.8, p. 147).
Finally, paper, it seems, also helped bakers ascertain the heat levels of their ovens. One particularly interesting recipe for biscuits requires a particularly hot oven. The recipe instructs the baker to that the ‘oven must be soe hot as to turne a peece of white paper browne’ (Folger MS V.a.8, p. 110).
It seems that paper was a crucial tool for early modern bakers and was used in the production of a range of different baked goods. This discovery confirms recent suggestions that paper was not as scare, rare, and expensive in the early modern period as was previously thought. In fact, paper was used in a range of everyday tasks suggesting that it was readily available and probably fairly economical. Significantly, our recipe writers were, at times, quite specific about the kind of paper used. Our current sample is probably a little too small for us to tease out whether this was due to personal preference or whether particular baked goods (likely the more precious ones) required special lining papers. Moreover, the final example where white paper was as an indicator of heat demonstrates the ingenuity of householders in taking and re-purposing everyday objects.
The focus on paper-used in recipes has brought up a number of fascinating points and enabled us to delve deeply into everyday activities of early modern householders. I’m still at the beginning of my research and so if you spot paper in a recipe, please mark it with #paper and add it to our sample. I’m so grateful to everyone for your help with my project! A final word – every Tuesday in August, The Recipes Project blog will publishing posts on recipes and paper. So, if this topic tickles your fancy, do click, click, click over there and have a read.
 The collections are Folger Shakespeare Library MSS V.a.8, V.a.19, V.a.21, V.a.140, V.a.215, V.a.364, V.a.388, V.a.456, V.a.490, and V.a.619.
By Elaine Leong @elaineleong
It’s not every day that you come across a recipe that calls for elf hoof. Not even when you regularly work with old manuscript recipe books. Nope. Not even when looking at an eighteenth-century grimoire, in which the most unusual ingredient is the white coating (thrush? milk?) scraped from a newborn’s tongue.
When I spotted @MyraMo and @mutabilitie discussing Margaret Baker’s remedy ‘For Convolchen fetts in yong Children’, I was initially drawn in by @MyraMo’s question about mouse heads and afterbirths. (Who wouldn’t be?) But the recipe became even more intriguing when @mutabilitie commented:
I reckon the ten-clawed hoof of a mountain elf mentioned at the beginning would have prevented anyone from actually trying out this recipe – probably just as well!
Afterbirth? Uncommon, but not unexpected. After all, I’d come across dried mummy, menstrual blood, spit, feces, and urine before. Mouse head? That, as it turns out, was merely a misreading of ‘dead man’s head’. While shocking to modern sensibilities, skull was an ingredient common enough to be listed in official pharmacopoeia. Elf hoof!? That was entirely unexpected—and certainly not a misreading:
Take the houf of an Elfe it is best that lives in the mountaine & hath tenn clawes upon one foote one of those clawes must be rasped and made into very fine pouder.
I didn’t initially dismiss the possibility of Margaret Baker truly meaning elf hoof. I’ve previously looked at the classification of hobgoblins and their ilk, but had not encountered any descriptions of the medicinal uses of supernatural creatures’ body parts. Elves, like any other supernatural being, could help or hinder humans. Given that early modern medicine regularly included human body parts, which were seen as particularly efficacious, surely supernatural body parts would be even better.
That said, ‘elf hoof’ was more likely to refer to some herb. The OED didn’t turn up anything obvious except for elf dock and elfwort, alternative names for elecampane. Culpeper’s The English Physician (1652) notes that this herb grows in shady places and, governed by the sun, is hot and dry in the third degree. It even looks like the sun and its root is like a hoof with claws. One species, orestion, grows specifically in the mountains, according to Robert Hooper (1817). As a stimulant and tonic, it is useful in treating old coughs, shortness of breath, windy stomachs, stopped menses and urine, gout, sciatica, and stitches in the side caused by the spleen. ‘Elf-shot’, a term dating back to the Anglo-Saxons, was still in early modern use to describe certain physical and mental disorders. For example, sharp and shooting pains, such as stitches, gout or sciatica, might be elf-shot.
Pretty convincing. The mandrake, however, is another contender. In The Compleat Herbal of Physical Plants (1707), John Pechey noted that it grows in woods and shady places and is a good narcotic. Culpeper, in the Pharmacopia Londinensis (1718), advised against the use of mandrake roots because of the dangers posed by it being cold in the fourth degree. It could, however, be useful for ‘such as have a frenzy’ (269). The mandrake, thought to be luminous, was governed by the moon and, as such, could be used to treat ailments such as epilepsy, an ailment associated with the full moon. Folklorists Thomas Dyer and Richard Folklard describe the mandrake’s various magical uses, ranging from love charms to treasure finders. Resembling the human form, mandrake roots were sometimes sold as little mannikins and (in early modern France) they were sometimes seen as a species of elf. Those who possessed mandrakes often cared rather elaborately for it, providing it with food and drink, much in the same way that one might try to keep other supernatural creatures within the household happy.
But which fits better with the remedy as a whole? In addition to elf hoof, skull and afterbirth, the ingredients were leaf gold, peony, cowslip, mithridate, nutmeg and amber. The remedy suggests that the convulsions were epileptic; it was to be administered at the change of the moon and several of the ingredients were intended to counteract the effects of the moon. For example, gold, amber and peony were all ruled by the sun. Other ingredients were intended as protective, such as the mithridate (a cure-all), the man’s skull (like cures like, in that epilepsy was also a disease of the head), and the afterbirth (acting symbolically). The ingredients in general had sedative and anti-spasmodic properties.
Elecampane fits the description of elf hoof in that there is a specific type grows in the mountains, it treats ‘elf-shot’ (of which epilepsy might be one type), and it is associated with the sun like most of the other ingredients. Mandrake, in contrast, stands out as being a cold ingredient. It fits in other ways, however: it had narcotic properties and was associated both with diseases of the moon and elves.
The recipe blurs the magical and medical in intriguing ways with several of its ingredients and timing of administration. It also suggests the complicated pathways of transmission over time. Elf hoof may very well have been a local term, or one that simply made it into Margaret Baker’s collection when she heard it from someone else and it took her fancy. The remedy also hints at the continued existence of much older ideas: sun and moon, elf-shot, and mannikins. In the end, for the modern reader, Margaret Baker’s description is both incredibly specific and frustratingly vague. The elf hoof that she describes in great detail no longer corresponds to our modern terms, leaving a recipe that seems more mysterious than it probably was at the time.
What do you think it was: elecampane, mandrake… or elf?
I recently participated in a panel at the Manuscript Cookbooks Conference at Fales Library and Special Collections at New York University, along with my Early Modern Recipes Online Collective (EMROC) colleagues Hillary Nunn and Jennifer Munroe. Each of us spoke about how we engaged various audiences in the activity of transcription, and how the process of transcription is an important form of close reading that can transform our understanding of a text.
This is particularly true of recipes. Being a close reader of historical recipes means learning how to recognize and interpret common knowledge (of course an early modern person would know the length of a “nail”) and gaps (of course an early modern person would know to add elderberries to elderberry wine).
Jennifer Munroe talked about her experiences with undergraduates in the classroom and the kitchen, trying to interpret a recipe with no previous experience or exposure to early modern ingredients or practices, relying on their critical and creative thinking skills as they did, for example, in working with a recipe for “A Medecine for a Pinn and a Webb, or any other soore Eye” from the receipt book of Mrs. Corlyon (Folger MS v.a.388).
Implicit in this recipe is the specific “three leaued grasse” it features, and the recipe calls for the concoction to cook over a “soft fier” and add only enough honey for it to be “yellow,” but what shade of yellow is unclear. Students learn not only to fill in the gaps, to look for the absences as well as the details recipes in this and other books provide, but they also come to appreciate how users of these books possessed a working knowledge about plants and processes that we have largely lost today.
Hillary Nunn showed the new understandings we can extract from the most basic kitchen processes when we search transcriptions of recipe books. Her work demonstrated how easy it is to overlook the importance of seemingly common recipe ingredients. Water, she pointed out, was not just something that recipe writers could assume users got from the tap. Instead, recipe books require a wide range of different types of water, and often called for waters that has already been processed.
I spoke about you, our wonderful Shakespeare’s World contributors, and the fascinating discussions on Talk, and the “relatability factor” that is much higher for recipe books than other types of early modern manuscripts. We all prepare meals and take care of ourselves, after all, so of course we are fascinated by how earlier generations managed to do these same tasks–the similarities and differences are equally striking.
We were reminded by various participants at the conference that reading a recipe is very different from trying to make it. And, we reminded them that our goal was to transcribe the recipes precisely so that these early modern texts can be studied by scholars as well as followed by cooks (and the two are not mutually exclusive!)
At the conference we saw Irish, German, Swiss, American, and English manuscripts ranging in date from the seventeenth century to the 1960s. One of the recurring themes was how complicated it is to represent the multiple layers of production and creation, and to fully understand the two-way flow between handwritten and printed recipes. Another theme had to do with regionality, and whether or not names of recipes with geographic locations accurately represent where the recipes were “born.” Attempts to categorize recipe books can be tricky as well, but some of the suggestions included: planned vs. unplanned recipe books; recipe books acting as memory prompts for an individual vs. recipe books that are stand-alone, for anyone to use; and heirloom recipe books not meant for cooking vs. practical recipe books passed down through the generations. One of the most salient points for those of us interested in early modern recipe books was how they can be a source not just for recipes, but also for women’s history, biography, and autobiography.
The schedule of presentations for the entire conference is here.
by Heather Wolfe,
with contributions from Hillary Nunn and Jennifer Munroe
Histories of sustainability have typically situated the origins of our current environmental crises at the advent of industrialism, as if locating a moment in time when things were otherwise might help to remediate our current ecological crises derived from human-induced forms of destruction: air pollution, deforestation, and others. All of these histories, that is, and for obvious and very good reasons, take as their concern large-scale practices especially rooted in moments of rupture when human practices overreach.
I propose here that we might more usefully approach sustainability, however, by taking a step back, moving from the global to the local, as they say, to focus instead on smaller-scale practices, or “micro-practices” that inform what Rosi Braidotti describes as “sustainable becoming,” or “the ethical state of becoming [that] practices a humble kind of hope, rooted in the ordinary micro-practices of everyday life” (Transpositions. Maiden: Polity, 2006: 137).
Early modern receipt books express and enact the very principles of sustainability that our histories attempt to recuperate, the “micro-practices” of the everyday; their details recount an embeddedness of human and nonhuman things, the sort of mutual dependence that sustainability initiatives today aim to recuperate and reproduce. The creation and efficacy of the recipes we find in these books depend not on discrete human/nonhuman entities but instead on the intimate “micro-practices” that constitute human/nonhuman collaborations, as we see in a recipe from the Lady Frances Catchmay book, “A very good medicen for eyes that be trobled wth a pinne and web be or with any other dymnes” (12r):
Take the oyle of a new layd egge or two, beate and clappe it well till it come to afrothe, then let it stande for a little while, and let the oyle rune into a saucer, and put the juce of daysies, with the blossomes, leaves and rootes, beinge stamped and strained into the oyle of the egges, put alittle clarified honey to it and mixt all thes together well, and let the patient take every eveninge and morninge into his eye that is greaved adroppe put in with a fether, let this be used so longe as he hathe payne.
The person preparing the remedy uses a “new layd egge or two,” which means that the cure depends on the immediacy of time, participation (at least tacit) by the chickens who produce said egg/s, human movement across ground, into henhouse to gather it. And how “new” is a “new layd egg”? Is it still warm? Can it be several hours or even days old? To know what constitutes “new layd” to prepare the medicine requires the housewife (in all likelihood) to have such intimate knowledge of egg and chicken—touching the warmth of the egg newly delivered, observing the point at which eggs go bad and are no longer fresh enough for the cure; the egg “beate[n]” and “clappe[d]” incorporate egg matter, mixing bowl, and human energy to create the new substance the resulting “frothe.” And to “put the juce of daysies, with the blossomes, leaves and rootes, beinge stamped and strained into the oyle of the egges” not only synthesizes said egg-bowl-human mingling with plant matter, but it depends on the recent human harvest of daisies, which requires human form to cross household threshold into adjoining environs (immediate or further afield) to pick fresh daisies so that they might still have juice to be strained. And again, as human feet traverse the dirt- or gravel-covered pathways outside, sights and sounds of nonhuman activity penetrate human bodily boundaries—a wooden stamper encircled by human hands “stampe[s] and straine[s]” the various parts of the daisies, daisy juice (roots, leaves, and all) mingles with frothy oil of egg mixture.
This recipe illustrates how humans and nonhumans are bound to one another in yet other ways too. The clarified honey added to the plant-egg froth recalls multiple forms of the interdependency of bee and human labor: bees gather pollen, some wild-growing and some perhaps human-cultivated, which combines with the enzymes in their saliva to activate the substance we know as honey; the honey, probably extracted from a hive (or skep, perhaps itself made of plant material) built by humans, becomes the golden, sticky substance by way of its production and storage in combs; it is then harvested and “clarified,” which would have involved separating the liquid honey from the wax and residual pollen. And after mixing yet again, the resulting concoction is “put in” the patient’s “greaved” eyes (morning and evening) “with a feather,” such that human and nonhuman animals and plants intra-act to perform the cure.
Rather than focusing on geologic indicators of fissure between humans and nonhumans or destructive large-scale practices that seem to precipitate them, we might turn our attention to alternative narratives, alternative subjects. A focus on the “micro-practices” in receipt books illustrate intimate human-nonhuman relationships in the past that challenge dominant histories of sustainability; after all, household cookery and medicine was, even if driven by necessity more than a romantic sensibility, sustainable all along.
He’s mad that trusts in the tameness of a wolf, a horse’s health, a boy’s love, or a whore’s oath.—Fool, King Lear (3.6.18)
Receipt books in the Folger Shakespeare Library’s collection contain not only remedies for human ailments but also cures for domestic animals such as horses. Such a receipt book, MS V.a.140, contains three pages of remedies (fols. 6v/7r, fols. 7v/8r, and fols. 8v/9r) for common ailments of horses. Of the seven ailments mentioned in this manuscript, four involve the horse’s feet or hooves.
There is an old saying among horsemen, “No foot, no horse.” Despite their size and strength, horses are notoriously fragile animals. Four slender legs and small hooves must bear the horse’s full weight of eight hundred to two thousand pounds. Horses were essential to the economy and society of Shakespeare’s time. British economic historian Peter Edwards, author of Horse and Man in Early Modern England (2007), has written extensively on the importance of horses in early modern England. Not only were they a source of transportation, horses were also essential to mounted warfare, agriculture, and courtly pastimes such as tournaments, hunting, and manège riding (dressage). Therefore, horse owners paid particular attention to the care of their horses’ feet and hooves. Read More…
Most online transcription projects allow you to see or even review other people’s transcriptions, but Zooniverse projects (Operation War Diary, Ancient Lives, AnnoTate and Shakespeare’s World, to name a few) ask you to transcribe on your own. Rather than generating transcriptions and waiting for each one to be vetted by an expert, we try to harness what James Surowiecki calls ‘the wisdom of the crowd’—in this case multiple transcribers and their aggregated responses—to identify what is on a page without then doing a manual review of each page. If our small research team had the time to manually review every transcription, we would probably have the time to do it ourselves! But the dataset is much too large for that.
Multiple individuals’ responses are aggregated using two different algorithms. The first is a clustering algorithm, which uses the blue dots to identify where a line or word is, and the second is MAFFT alignment which is traditionally used for amino acid or nucleotide sequencing, and has been deployed by our friends over on Notes from Nature (see blog).
Aggregating multiple people’s responses minimizes the burden of transcription, as well as the burden of accuracy, on the individual. It’s unlikely that any two people, much less three, five or a dozen volunteers reading the same word or line will make exactly the same mistakes. But asking multiple people to do each page independently has its perils, as we have discovered on other projects: if a page is dense or the handwriting is hard to read, the average person will do a bit on the top third of the page, but often can’t complete the whole page because they don’t have the time or inclination (life happens!).
Many moons ago, when I was first thinking through how to make text transcription efficient in a system that relies upon multiple independent transcribers who can’t see one another’s work, it occurred to me that we could use a visual clue that a line or word had already been completed. Hence the grey dots that started to appear this month.
When you come across grey dots, this means that the section or line they are surrounding has been fully retired, but there may be more to do on a page. If you see a page where every line is encompassed by grey dots, this means you should click ‘I’m done’ and ‘yes, everything is transcribed’. Once three people have said a page is complete on the basis of having done the whole thing themselves or seeing the grey dots, the page will stop showing up in the transcription interface.
You may have noticed by now that there are a dearth of manuscripts by or about Shakespeare among the thousands of images in Shakespeare’s World. As far as we know, he does not make an appearance in any of the thousands of recipes or letters currently available for transcription (but please prove us wrong!). One letter to Shakespeare does in fact survive, from Richard Quiney in 1598, but the letter is at the Shakespeare Birthplace Trust, and therefore does not appear in Shakespeare’s World.
That will change when we add the genres “miscellanies” (blank books filled with poems, notes, copies of letters, and just about anything worth writing down) and “commonplace books” (blank books with extracts arranged by theme or category) to the site later this year. If you are a close reader of the Bard, you will likely encounter extracts from Shakespeare’s plays and poems, copies of William Basse’s elegy on Shakespeare, and perhaps passages that scholars at the Folger Shakespeare Library have not yet discovered. It will be exciting for Shakespeare enthusiasts to be able to read these references and allusions in the context of the manuscript volumes in which they appear, and to think further about how early modern readers digested their Shakespeare.
Until then, you can get your fill of Shakespeare at Shakespeare Documented, an online exhibition convened by the Folger Shakespeare Library, with contributions by over thirty institutions. Also, many of the actual manuscripts related to the famous literary figure are on display in the current exhibition at the Folger Shakespeare Library’s Great Hall: Shakespeare, Life of an Icon.
Shakespeare Documented includes high-resolution images, descriptions, metadata, and in many cases, transcriptions, of approximately 500 references to William Shakespeare and his family in their lifetimes, as well as editions of, and references and allusions to, Shakespeare’s works, in his lifetime and in the years following his death in 1616. If we discover anything Shakespeare-related in Shakespeare’s World, we would be thrilled to add it to Shakespeare Documented, and are eager to see this new resource grow and evolve!
A few weeks ago volunteer @SarahtheEntwife posted her modernized recipe for caraway bunnes, followed by an image of the result!
It looks good, so I’ve decided to give it a go as well over this coming weekend. Would you like to try your hand at this recipe and share the results here on our blog or Talk? We’re always keen to try new things, and hear what you’re up to as well. Images of baked goods and other culinary delights are most welcome.