Wednesday, 11 December 2013

Mrs Agnes Marshall's Cucumber Ice Creams

Agnes Marshall's Parisian Cucumber Cream served on a base of nougat paste and pistachios glazed with boiled sugar. The highly realistic cucunber is flavoured with finely chopped angelica, pistachios and maraschino or noyeau.
For many years a favourite dish of mine has been a 'ragoo of cucumbers', a lightly cooked cucumber stew, a variety of recipes for which are included in most English cookery books of the eighteenth century. I frequently serve it to guests who attend my courses. All appear to enjoy it immensely, but often express surprise that the English once had a variety of cooked cucumber dishes. Nowadays, cucumber is rarely used in this country outside a few Michelin starred restaurants other than as a raw salad ingredient. So they are even more surprised when I explain that cucumbers in Georgian England were often preserved in sugar syrup as a 'wet' sweetmeat for the dessert course. In the late Victorian period they were even used to flavour ice creams and sorbets. Some ice cream makers took this to extreme lengths, even moulding their cucumber flavoured ices into the form of trompe l'oeil cucumbers, so realistic that they were barely discernable from the real thing.

This recipe is one of a number for cucumber ices in Agnes Berthe Marshall, Fancy Ices (London nd 1890s)
Mrs Agnes Berthe Marshall, the great entrepreneurial London based cookery teacher of the late Victorian period, not only offered a number of cucumber ice cream recipes in her books, like the one above for Parisian Cucumber Cream, but also sold life size cucumber moulds in her showroom in Mortimer Street. I recently acquired one of these moulds and have 'test driven' it a few times in the process of replicating some of her cucumber ice recipes.

Advertisement page of ice cream moulds from Agnes Berthe Marshall, The Book of Ices ILondon: 1885)
A page from a Harton and Son ice cream mould catalogue (second half of the nineteenth century). Harton was an important London pewterer who specialised in making novelty ice cream moulds. Among the ice creams illustrated on this page is a cucumber mould.
My 1890s pewter cucumber ice cream mould has distinctive hinges which tells me that was made by Harton and Son
The mould is in two hinged halves fixed together with steel pins
The long pin is left in prior to the mould being filled with semi-frozen ice cream
The Parisian Cucumber Cream is paddled into the two separate halvess of the mould with the back of a spoon
When they are both full, the two halves of the mould are closed tightly together, the pins inserted and any excess ice cream wiped off. The seams of the mould are then sealed with butter or lard to stop the ingress of any saline solution, and the mould wrapped in brown paper. This little 'parcel' is then plunged into a bucket of ice and salt and left to freeze for about three hours. The finished ice is removed from the mould by dipping it into cold water for about 11 seconds. The brown paper stops pieces of  ice from freezing onto the mould. 
Another of Mrs Marshall's recipes from Fancy Ices. Though this is moulded into the form of a cucumber it contains no cucumber at all.

A popular small  mould used as a garnishing ice was in the form of a pickled cucumber or gherkin. An ice made from such a mould is one of the garnishing ices here embellishing this large water ice in the form of a beehive.

This, the earliest image of a pewter cucumber ice cream mould appeared in Joseph Gilliers, Le Cannameliste français (Nancy: 1751). It is of course a cornichon or gherkin. 
The same 'joke' mould was still being used in the late Victorian period
Mrs Marshall also gives a simple cucumber ice cream recipe in The Book of Ices (London: 1885) that does not require moulding.  
In Fancy Ices she also gives a recipe for a Cucumber Sorbet designed to be served in cups made of ice. In her day the term sorbet had a different meaning to now. It was a non-dairy or water ice, usually flavoured with some kind of fruit. However, Victorian recipes always included an alcoholic element, in this case cognac and kirsch. They evolved from the frozen punches and sherbets of the Georgian period, which were served in the early stages of a dinner.
A mould for making cups out of ice of the kind mentioned in the above cucumber sorbet recipe. Mrs Marshall sold moulds of this kind from her shop in Mortimer Street

Sunday, 24 November 2013

2014 - Some Interesting Food History Conferences and Lectures


Twenty-Eighth Leeds Symposium on Food History and Traditions

Saturday 17th May 2014

JACKS AND JAGGERS

Kitchen Technology in England from 1600 to the Second World War 



A Selection of Early Modern Period Pastry Jaggers. Photo: Michael Finlay


Convenor - Ivan Day

Papers

Cooking with Charcoal and Steam in the English Kitchen - Peter Brears

The Blacksmith's Tale – Wrought Iron & Steel in the Kitchen - Giles Cowley

The Evolution of the English Weight Driven Spitjack - Tony Weston 

Cooking by Gas in the English Kitchen - David J. Eveleigh

Pastry Jaggers - their development from the late sixteenth to the late nineteenth century - Michael Finlay

Friends Meeting House, Friargate, York. YO1 9RL 


This, the twenty-eighth Leeds Symposium, focuses on technological advances both large and small in the English kitchen. 

There is a much grander three day symposium which will examine a similar subject area in New York City in April, but with a much more international and predominantly US focus. This is the 2014 Roger Smith Conference, which is this year entitled,

From Flint Knives to Cloned Meat: - Our Ambiguous Love, Hate, and Fear of Food Technologies

April 3-5 2014 Roger Smith Hotel

I am in New York on 2nd April to give a lecture to the Culinary Historians of New York, but will sadly miss the Roger Smith conference as I have to fly to Ohio State University the next day to give a lecture at the Center for Medieval and Renaissance Studies on 4th April. Maybe I will get a chance to meet some of you at one of these two venues.

My 2014 Cookery Courses


Learn to make a Yorkshire Christmas Pie on my A Taste of Christmas Past Course
Below is the course diary for the period cookery courses I am offering in 2014. Click on the individual links to read more about each course on my website. If you would like to book a course there is a link to the booking form at the end of this post. All 2014 courses are £310 per person. Please book soon as places are limited and they quickly fill up.

COURSE DIARY 2014
DATE
STATUS
COURSE
8-9 March 2014PLACESLATE MEDIEVAL ENGLISH COOKERY
29-30 March 2014PLACESTUDOR AND EARLY STUART COOKERY
26-27 April 2014PLACESITALIAN RENAISSANCE COOKERY
24-25 May 2014PLACESGEORGIAN COOKERY
14-15 June 2014PLACESVICTORIAN COOKERY
5-6 July 2014PLACESADVANCED SUGARWORK
23-24 August 2014PLACESPIE MAKING AND PASTRY
13-14 September 2014PLACESJELLY AND MOULDED FOODS
27-28 September 2014PLACESROASTING AND BROILING
11-12 October 2014PLACESPERIOD SUGARWORK AND CONFECTIONERY
15-16 November 2014PLACESA TASTE OF CHRISTMAS PAST
Use original confectioners moulds like this to create a remarkable sugar paste neo-gothic church from the time of Lord Byron on my new Advanced Sugarwork and Confectionery Course
Forget about the Great British Bake-off. Try something more demanding than the 'Great Cupcake Challenge' 
Learn how to make Tudor and Stuart confectionery as it really was made, with original equipment
Learn how to make extraordinary period jellies and ices on my Moulded Foods Course - Bompas and Parr did
My clients come from all over the world. This is Philipp from Vienna, a regular attendant who has just finished off 'jagging' the crinkumcranks on the rim of Daniel Welstead's eighteenth century apple pie

Most of my courses cover the vast, unfathomable depths of British period cookery, but I also have a working interest in the early modern Italian kitchen. This is a loin of veal roasted in an original sixteenth century cradle spit and cooked according to a recipe from Bartolomeo Scappi (1570). The joint is spiked with sage, drenched in malvasia wine, sapa and agresto and roasted over ember-roast onions, prunes, rose vinegar and more malvasia. Amazingly delicious!
Maestro Martino's ravioli in tempo di carne, being cut with an original Italian Renaissance pastry wheel. Try this out on my Italian Renaissance Cookery Course


Saturday, 23 November 2013

Towards A True Twelfth Cake

A group of sugar cavalry officers parade round the Prince of Wales Feathers on top of a Regency period twelfth cake
It seems ages since I had enough spare time to post on this blog. Since we are approaching Christmas I thought I would touch on a somewhat seasonal theme. On some of my recent courses I have been teaching my students how to make and decorate twelfth cakes and include some illustrations of their efforts here.

Some dishes are frequently mentioned in literary and historical records well before any recipes for them appear in the cookery books. A striking example of this is the twelfth or wassail cake, once commonly consumed on the Feast of the Epiphany on the 6th January. Formerly these cakes were made throughout Christendom, with numerous references to them in most European languages. From the Renaissance onwards, there are many tantalising descriptions of them in English sources, but a specific recipe does not appear in a printed cookery book until 1803 (John Mollard, The Art of Cookery). 

Although they are first described in the sixteenth century, twelfth cakes were particularly popular in this country between 1750 and 1850, when they were often decorated with sugar or wax figures and other spectacular ornaments. During the Christmas holiday period, city confectioners would dress their windows with these cakes to show off that year's prize creations. Standards of decoration were very high, a fact that should not be too surprising as this was of course Georgian Britain, the age of the Adam Brothers, Thomas Chippendale and Josiah Wedgewood, who all set very high levels of accomplishment in the decorative arts. There are plenty of illustrations of twelfth cakes in contemporary books, newspapers, confectioner's trade cards and the cover designs on packs of twelfth day cards, so we have a pretty good idea of what they looked like. They were embellished according to the prevailing aesthetic trends of the period. Some were embellished with one or two crowns, though this was optional and designs varied enormously depending on the caprice of the confectioner.
A twelfth cake with crown from Robert Chambers, The Book of Days, (London: 1869)
Anyone wanting to replicate a twelfth cake nowadays would probably assume that they were ornamented with royal icing applied with a piping bag. But in the eighteenth and early nineteenth century when this cake was at its apogée, piping had not yet been introduced into England and another, entirely different mode of decoration was used.This was a technique which employed a material called gum paste, made with a mixture of gum tragacanth and powdered sugar blended into a porcelain-like paste with a little water. Gum paste ornaments were pressed out of very finely carved wooden moulds and stuck onto the cake with royal icing, gum water or isinglass.The moulds, sometimes called 'boards' or 'cards' were often carved by the confectioners themselves. Frequently the standard of carving was that of a virtuoso. Although they were used for all sorts of purposes, such as the construction of sugar pieces montées and other table decorations, many of these moulds were carved with motifs specifically intended for ornamenting twelfth cakes. I own two that were intended for making sugar crowns and one other which allowed a confectioner to construct a three-dimensional Prince of Wales Feathers complete with crown.

An eighteenth century boxwood mould which allows a three dimensional crown to be made up out of various components
Two sugar paste crowns made from the mould above in the process of being gilded
A twelfth cake made by students on my Confectionery and Sugarwork Course
An early nineteenth century gum paste mould for making a crown
These two feathers are on the back of the mould indicating that it was used for making the Prince of Wales feathers
Two feathers pressed from the mould. To create the curled effect, the feathers are stuck back to back, wired and furled round a small confectioner's rolling pin
This is a close-up of a very finely carved Prince of Wales Feathers motif on a card mould from the late eighteenth century. It was used as a repeating relief motif in the top of the cake below
Dominated by the Prince of Wales feathers, this twelfth cake has been ornamented with motifs pressed in gum paste from late eighteenth and early nineteenth century confectioner's moulds. The crown is surrounded with the national flowers of England, Scotland and Ireland and small relief Prince of Wales feathers.

An eighteenth century card mould used to create the swags and drops around the cake. It also provided  the flowers of England, Ireland and Scotland for the top of the cake 
Difficult to see in this photograph, but the saddle covers on these horses are marked with GR. They probably date from the early 1820s. Attached back to back gum paste pressings of the two motifs were designed to be combined to make a three dimensional cavalry officer. Like most of these three dimensional features a stiff wire was run up one of the legs so the horse and rider could be attached securely to the cake.

A detail from an early nineteenth century confectioner's trade card showing a twelfth cake surmounted by figures
There are some other posts on twelfth cakes on this blog which you might enjoy reading -
A Forked Stick for the Cookold

This Year's Twelfth Cake

An article Ivan wrote for BBC Countryfile Magazine on Christmas food traditions

Wednesday, 11 September 2013

Banqueting Stuffe To Go


I have just finished making a table full of early modern period sweetmeats for a BBC production which will chart the arrival of Renaissance culture in England. It will all be dispatched in some carefully packed pizza boxes I have scrounged from the local take away. The photo above shows an assemblage of 'banqueting stuffe' typical of the late sixteenth and seventeenth century. On the large charger on the left are 'cinnamon letters according to arte', jumbals, printed bisket, Shropshire cakes, Naples bisket, artificial walnuts, rolled wafers and date leach. At the back two edible sugar tazze are covered with marchpane in collops, muscadines, white gingerbread, sugar plate playing cards and comfits. To the right of the white hart marchpane is a gilded and painted sugar plate trencher copied from one made of beechwood in the British Museum collection. The white gingerbread figures were printed from an original early Stuart mould in my collection and made from a recipe in Lady Anne Clifford's receipt book in the BL. 

White gingerbread figures
There are two edible sugar tazze. One is in Venetian style, the other inspired by the wonderful designs for salts and tazze supported by dolphins by Giulio Romano in the Fitzwilliam Museum. I am truly fortunate in owning a remarkable wooden mould designed to make a tazza of this kind. Next month, I am running a course on sugarwork and confectionery (full up I am afraid) and my students will get a chance to have a go at making one of these themselves.
Sugar tazza in the style of Giulio Romano - moulds below




Friday, 6 September 2013

Toad-in-a-Hole Biscuits and Friends

Some English biscuits from a recipe book published in the year of the French Revolution. Left: Toad in a Hole Biscuits, Top: Judge's Biscuits, Right: Fine Almond Faggots, Bottom: Yarmouth Biscuits
Biscuits have been on my mind for some time. Last week food writer and television cook Nigel Slater came to my kitchen to find out about how biscuits were made in Britain before they were mass-produced in factories. Nigel is the presenter of a programme on biscuits which will air on the BBC later this year. We made seventeenth century Shrewsbury Cakes from a recipe collected by John Evelyn and I introduced him to a number of forgotten English biscuits that once graced the dessert tables of the Georgian nobility. Most of these I made from recipes in Frederick Nutt's The Complete Confectioner (London: 1789). These luxury items, designed for accompanying wine rather than tea, are so much nicer than a lot of the manufactured biscuits consumed in Britain today They are also very easy to make. So I have appended some of Nutt's recipes at the end of this article. 

My all time favourites are his toad-in-a-hole biscuits, whose name almost certainly arose because of their similarity to the popular Georgian supper dish toad-in-a-hole. This cheap and cheerful delicacy was originally made by covering pieces of meat, usually beef, in a milk, egg and flour batter and baking it in the oven. The earliest printed recipe for the savoury toad-in-a-hole is in Richard Briggs, The English Art of Cookery (London: 1788) published only a year before Nutt's biscuit version. In the modern incarnation of the dish, the beef has been replaced with sausages. India Mandelkern, to my mind the foremost blogger on eighteenth century English food culture, has written a short, but fascinating essay on toad-in-hole, to which there is a link at the end of this posting.  

Toad-in-a-hole-biscuits were made from little rounds of almond paste into which one or two dried cherries were pushed before they were baked. Like the Yorkshire pudding batter used in the savoury dish, the almond paste rises as it bakes, enveloping the cherries, thus creating the miniature 'toad-in-a-holes'. Nutt's recipe calls for 'dried cherries'. What he means by this are syrup sweetened and candied cherries, not exactly the same as glacé cherries. I use dried morello cherries which work really well.

If my own favourite from the filming session was the toad-in-a-hole biscuit. Nigel Slater's was Nutt's 'Orange Biscuit', which he said was the most delicious biscuit he had eaten in his life. Tasting like a cumulus cloud lightly spread with marmalade, this fluffy, but incredibly crisp morsel dissolves on the tongue in micro-seconds. If you cannot read Mr Nutt's recipe in the photo below, I have appended a clearer version at the end of the posting.
Frederick Nutt's Orange Biscuits. Photo: Nigel Slater
One biscuit which originated in the early nineteenth century and remained popular for over a century was the Union Biscuit, designed originally to commemorate the Acts of Union of 1801. But why celebrate a political act with a biscuit? I cannot be sure, but I suspect that these biscuits were consumed with wine during the toasts at the end of a formal dinner. Toasts to the reigning monarch, Union etc. took place during the dessert course when biscuits were usually laid out with the other sweetmeats. These little biscuits pirnted with the word Union would have been perfect for nibbling with the sweet wines. They were still fashionable in the early twentieth century when Frederick Vine gave detailed instructions for making them in the second edition of his marvellous trade manual Biscuits for Bakers (London: 1906).

Union, Wine and some other patriotic friends
Vine not only explains the recipe, which is a very basic one, but the process of stamping them with the Union design. His full instructions are below. By 'volatile' he means ammonium bicarbonate, once known as sal volatile, or hartshorn, because it was formerly made by calcining stag antlers. At some point I will publish a detailed posting about volatile and other leavening agents.


Over many decades I have sought out quite a few of the biscuit prints and dockers formerly used by confectioners and bakers, but so far a Union Biscuit stamp has eluded me. However, I do own a remarkable biscuit roller which is carved with a total of fifteen different designs, among which is a Union stamp. Some of the other stamps on the roller are also patriotic. One, emblazoned with VR, dates the roller very definitely to the reign of Queen Victoria. There is also a royal crown, a shamrock of Ireland, a thistle of Scotland and a rose of England. Some of the other designs are decorative and represent ears of wheat, pineapples and a ship's anchor. One is engraved with the word WINE, indicating that it was for making a dessert biscuit to be consumed with a glass of wine.  


Frederick Vine gives five recipes for wine biscuits and has this to say on the subject,

'Almost all biscuits not made for special purposes are really wine biscuits; yet in almost every shop you will invariably find a special biscuit made and sold under this heading. Why it should be so, I know not; yet , being so it becomes my duty to direct your attention to the fact, and give a few special mixtures accordingly.'

What he is saying is that most biscuits were once made for consuming with wine. We now of course devour them more commonly with tea. Applying this information to the biscuits that my roller was used to produce makes a great deal of sense. Only one recipe mix was required to make the fifteen different biscuit designs, which I suspect were all intended to be used when toasting. The VR, the royal crown, the Union and the symbols of the constituent countries of the kingdom are all represented. During the nineteenth century the very large industrial biscuit manufacturers, such as Carrs, Huntley and Palmers, Peak Freans etc. produced many different stamped biscuits of this kind. Some like 'zoological biscuits' were moulded in the form of various animals for the delight no doubt of Victorian children, but all were made with the same basic recipe, usually along the lines of Vine's recipe for Union biscuits above. These enormous factories used mechanical rollers to produce their printed biscuits which were made by the million. Despite the competition from these big companies, small scale confectioners and bakers continued to make handcrafted biscuits using the old fashioned techniques described by Vine. However the biscuit roller was a step up from the biscuit stamp and I have had a great deal of fun using it to recreate these Victorian delights.

Twelve of the designs on the roller stamped into some biscuit paste. Note the symbolic flowers of Ireland, England and Scotland above. The pineapple  was a symbol much used for a confectioner's shop. The anchor represents the navy. The borders designs of the biscuits represent wheat straw and ears of corn. Although these biscuits can be trimmed down to size with a knife, I think it likely that originally a little rectangular tin cutter would have been used to cut them out more quickly.
Here are the recipes for the biscuits illustrated at the beginning of the posting. All are from Frederick Nutt, The Complete Confectioner (London: 1789). I suspect that some of them, like the fine almond faggots and orange biscuits, are Italian in origin. It is possible that Nutt learnt these from his master Domenico Negri, a confectioner from Turin who founded the Pot and Pineapple in Berkeley Square in the late 1750s. Because of the high sugar content, the orange biscuits blister and spread in the oven, but do not worry. When they are cool, just break off the ragged pieces round the edges and they will look good. The Yarmouth Biscuits are incredibly buttery. Delicious!


Toad-in-a-Hole Biscuits.

TAKE one pound of sweet, and one ounce and a half of bitter almonds, and pound them in a mortar very fine with water, then one pound and a quarter of Lisbon sugar, and mix it very well with the almonds: do not make it too thin, and remember there are no eggs in this; then put one sheet of paper on your wire, and some wafer paper on that, then take a spoon and make your biscuits round on the wafer paper, about the size of a half-crown piece; then put one or two dried cherries in the middle of them; and sift some powdered sugar over them, and put them in the oven, which must have a moderate heat, and when they come out, cut the wafer paper round them, but leave the paper at the bottom of them.

Judges Biscuits. 

TAKE six eggs and break them into a copper pan, yolks and whites together, whisk them well for about five minutes, mix half a pound of powdered sugar with the eggs, and whisk them for ten minutes, put as many carraway seeds as you think proper, and half a pound of sifted flour, mix it well with a wooden spoon, and put three papers on your plates ; then take a spoon and drop them on papers about the size of a crown piece, sift some powdered sugar over them, let them be rather thick in the middle, and the oven rather sharp and when they come out, cut them off the paper while hot.

Fine Almond Faggots.

CUT some sweet almonds in halves, put them and some whites of eggs in a bason together ; put a little powdered sugar, to make the almonds stick together, mix them well together in a bason ; put some wafer papers on your wire, make the almonds up in little heaps with your fingers, as big as you please ; sift a little powdered sugar over them, before you put them in the oven ; let them be a little brown, and then take them out, and cut the wafer paper off round them, that is ragged, and leave the wafer paper at the bottom of them.

Yarmouth Biscuits.

TAKE six ounces of currants, wash and pick them very clean, dry them well, rub a little flour among them to make them white, and put half a pound of powdered sugar with the currants upon a clean dresser, add twelve ounces of flour sifted, and half a pound of the best fresh butter you can get; break three eggs and mix all the ingredients together to become a paste that you can roll it on the dresser the thickness of an eighth part of an inch, and then cut them out either round or what shape you fancy.

N. B. Your oven must be rather hot, and put two or three sheets of paper under them, do not bake them too much, only just make them brown.

Orange Biscuits.

TAKE one pound of sweet almonds, pound them in a mortar very fine with whites of eggs ; take ten China oranges, rasp the rind off them very fine, and put it with the almonds ; add three pounds of powdered sugar, and mix. it well, if you find it too thick, put more whites of eggs to it and mix it well; then put two or three sheets of paper under, besides that you have put them on : let your oven have a moderate heat ; drop little round pieces of paste on your paper, about half as big as a nutmeg, and put them in the oven : let them have a fine brown, and take them off when cold.

N. B. Your oven must be rather hot, and put two or three sheets of paper under them, do not bake them too much, only just make them brown.

Please read India Mandelkern's great essay The Secret History of Toad-in-a-Hole