March, 2002 - DragonBear



A Conserve of Plummes in Sirrop

Caryl de Trecesson (Carol Hanson)

Source:

From The Second Part of the Good Hus-wives Jewell (1597) by Thomas Dawson (Falconwood Press, Albany, NY, 1988):

To conserve cherries, Damesins or what plummes all the yeere in the sirrop.

First take faire water, so much as you shall think meete and one pound of sugar, and put them both into a faire bason, and set the same over a soft fire, till the suger be melted, then put thereto one pound and an halfe of chirries, or Damsons, and let them boile till they breake, then cover them close til they be colde, then put them in your galley pottes, and so keep them: this wise keeping propirtion in weight of Suger and fruite, you may conserve as much as you list putting therto Sinamon and cloves, as is aforesaid.

Redaction:

1 lb. sugar (about 2 ¼ cups)

½ c. water

1 ½ lb. Italian prune plums

3" stick of cinnamon

6 cloves

Tie spices in cheesecloth, or be prepared to fish for them. Heat water and sugar slowly for 10-15 minutes till sugar is dissolved. Add plums and spices and bring to a boil. Lower heat to medium and cook until plums start to break, about 20-30 minutes. Cover the pot and let stand till cool. Remove spices, and spoon into jars. The result is cooked plums in a thick (but not jelled) syrup. This can be processed in sterilized jars, or refrigerated for a couple of weeks.

Notes:

1) "in the sirrop"

There are several recipes in this book and in Dawson's first book (The Good Hus-wives Jewell, 1596) that preserve fruit in syrup. Only one recipe in this book and only one recipe in the first book specify the "cold-plate" process of testing for jelling, so I'm treating this recipe as fruit-in-syrup rather than jelly-with-fruit.

2) " take faire water, so much as you shall think meete"

I checked the other fruit-preserve recipes in both books and, where specified, the proportions of water to sugar varied from 3:2 to 1:5. I tried 2/3 c. water (1:3) and the syrup seemed too thin. With 1/3 c. water (1:6), the sugar had trouble dissolving and bringing the plums to a boil risked scorching the sugar. Using ½ cup water (1:4) works well.

3) " put thereto one pound and an halfe of chirries, or Damsons"

The recipe's title also says "or what plummes" so, since I wasn't able to find damsons, I used an Italian prune plum as being close to a period fruit. I tried this recipe both without pitting the plums, and also with pitting them (trying to keep the fruit as intact as possible) to be easier to eat.

4) "boile till they breake"

Usually the degree of disintegration is better specified. Some of the other recipes talk about preserving whole fruit, some call for chopping the fruit first, some call for boiling the fruit to a paste. After 10-15 minutes, some of the fruit "pops" and loses its skin. After 20-30 minutes (the amount of time I used), most have lost their skin and some have broken into pieces.

5) "putting therto Sinamon and cloves, as is aforesaid"

The recipe immediately preceding this one is "To conserve wardens all the yere in sirrop" and says to "boile them together with a fewe Cloves and Sinnamon" so I've chosen a mild amount of flavoring rather than a lot.

A Drie Marmelet of Peches

Caryl de Trecesson (Carol Hanson)

Source:

From The Second Part of the Good Hus-wives Jewell (1597) by Thomas Dawson (Falconwood Press, Albany, NY, 1988):

To make drie Marmelet of Peches.

Take your Peaches and pare them and cut them from the stones, and mince them very finely and steepe them in rosewater, then straine them with rosewater through a coarse cloth or Strainer into your Pan that you will seethe it in, you must have to every pound of peckes halfe a pound of suger finely beaten, and put it into your pan that you do boile it in, you must reserve out a good quantity to mould your cakes or prints withall, of that Suger, then set your pan on the fire, and stir it til it be thick or stiffe that your stick wil stand upright in it of it self, then take it up and lay it in a platter or charger in prety lumps as big as you wil have the mould or printes, and when it is colde print it on a faire board with suger, and print them on a mould or what know or fashion you will, & bake in an earthen pot or pan upon the embers or in a feate cover, and keep them continually by the fire to keep them dry.

Redaction:

1+ lb. peaches, weighed after peeling, stoning, and chopping finely (about 5-6 med. fruit)

½ c. rosewater

½ lb. white sugar, granulated or superfine (a little over 1 cup), then take out 1/8 c.

1/8 c. superfine sugar for molding candies (you may need more)

Peel peaches, remove stones, and chop finely before weighing out a little over a pound. Put in a pot with the rosewater and bring to a simmer for 15-20 minutes until the peaches are very soft. Do not strain out the liquid, but push both peaches and liquid through a metal sieve/strainer, rubbing the more solid bits against the metal mesh and scraping off the paste from the other side and mixing with the liquid to get a fine peach/rosewater mixture (or use a food processor). Weigh the result and it should be about 1 lb. Put the mixture back into the pot, add the sugar, and bring to a slow boil at med-high heat. Reduce the mixture for about 45 minutes, stirring almost constantly and lowering the heat as it thickens to avoid scorching, till you have a very thick paste that will support a spoon. Spoon onto a ceramic or glass plate or pan to cool (do not put on foil!). When cool, take spoonfuls and roll them in superfine sugar. Flatten or press into molds or imprint with a pattern. Put the pieces on a baking tray or pan (putting them on an additional bed of sugar will help keep them from sticking) and dry in the oven at something less than 200 degrees Fahrenheit for 4-8 hours (any higher temperature will re-melt the paste). Let cool completely before attempting to remove. Makes about 24 candies of 1 inch diameter.

Notes:

1) " and steepe them in rosewater"

I've chosen to "seethe" (simmer) the peaches in the rosewater to make them easier to strain.

2) "then straine them with rosewater through a coarse cloth or Strainer"

To me, this implies you keep the rosewater and peach juice rather than throwing out the excess liquid. Some might interpret this as straining to remove the liquid and only keep a drier peach paste, but I chose otherwise.

3) "you must reserve out a good quantity to mould your cakes or prints withall"

Modern recipes for fruit pastes call for equal amounts of fruit and sugar but this recipe only uses half that amount of sugar and still works. I take out 1/8 c. (= 2 TB.) for forming the candies, since this quantity of peaches doesn't make many candies, but more may be needed depending on the stickiness of the paste.

4) "and print them on a mould or what know or fashion you will"

I tried imprinting the candies using a pewter pilgrim badge that admittedly wasn't highly sculpted, but the candies are soft enough at this point in the recipe that I don't think anything with much detail will come across. Molds should work better.

5) "and keep them continually by the fire to keep them dry"

Luckily, this isn't necessary in a literal sense, but the firmness of the candies seems to vary based on the type of peaches, their ripeness, and the general humidity. Strewing with additional sugar and leaving them out in the open helps.

Viking pendant Necklace

Caryl de Trecesson (Carol Hanson)

Style: c. 860 CE, as found in Hon, Norway, and currently in the Universitetets

Oldsaksamling, Oslo

Pendants: pewter Thor's hammer (central), brass disks, pewter "coins", silver wire spiral, pewter grotesque, silver bead loops, etc.

Beads: glass, foil-lined glass, "gold" with granulation (beads chosen to match

those in the archeological recreation as closely as possible)

Cord: waxed linen

Styles:

There appear to be three major styles of Viking Age necklaces:

1) relatively even beads with a similar diameter, sometimes varying in length or shape, often color-grouped (but this might be the archeologist's re-stringing)

2) graduated beads, from small on ends to large in center, often millefiori; probably worn around the neck?

3) necklaces of relatively even beads with multiple metal (gold/silver/unspecified) pendants; probably worn between brooches? (otherwise the pendants in the back are hidden)

There was a hoard containing a pendant necklace (and many gold coins and rings) found in Hon, Norway, that is believed to have been left around 860 C.E. This is the pendant necklace most commonly pictured and contains a wide variety of colored glass and possibly semi-precious stone beads, bead loops, and metal pendants. The current re-working of it by the archeologists also includes some gold granulated/filigree metal beads that had originally been left separate from the necklace. There are two examples of pendant necklaces usually pictured together: (1) mostly red carnelian and rock crystal, with several bead loops and metal pieces, and (2) yellow glass beads with green, black, crystal, and what look like pearls, with one metal disk and one bead loop.

Pendants:

The metal pendants on the treasure necklaces could be Thor’s hammers, book mounts from the covers of looted missals, coins from other lands, and any other type of metal charm or ornament (e.g., crosses, a Buddha, a Valkyrie figure, a ship, a stirrup, a spiral snake). The Northern World shows pictures of "bracteate" pendants and describes them as "impressed gold sheets with designs derived from late Roman coins" (pg. 132), and describes some of the items in the Hon hoard as "gold pendants with leaf decoration taken from western European models" and "many Arabic coins made into pendants" (pg. 144).

Pendants were also made of silver wire strung with one or more beads in a loop. The wire was twisted together into a shaft (the length varies), then the ends of wire were coiled to make a tube for stringing the loop.

Beads:

By the order in which they’re most often found (but not sorted that way within each group):

1) glass: plain, applied eye, millefiori, combed, foil

2) semi-precious stone, always shaped, not chips: amber, carnelian, quartz (rock crystal), jet, agate, amethyst

3) metal: silver/gold/bronze, plain or with granulation or wire decoration, or as a mount

4) other: occasionally bone, antler, walrus ivory, shell, but these are much rarer

The foil beads are very interesting: a layer of silver foil is applied around a glass core and topped with an additional layer of glass. Sometimes the topping layer is yellow glass to make the silver foil appear gold. Many Viking beads that look to be plain metallic are really these glass foil beads. I haven’t seen any examples of gold or silver foil applied to the surface of glass beads as is often done in modern lampwork.

Books talk about “shell” beads, but the example I’ve seen has uncut cowrie shells used as pendants on a necklace between glass beads; so shaped beads made out of shell material may not be appropriate.

Beads were an easy trade good to carry, and many of the Viking finds include beads from Russia, Byzantium, Rome, the Near East, and India, as well as more locally made beads.

The most common shapes are round beads, and short to medium length cylinders. Sometimes round beads are melon-ridged or lobed. Sometimes cylinders widen into a ridge around the center. Occasionally there are thin disks and longer barrel cylinders. Sometimes the beads have large facets, especially in a shape like a cube or a rectangle with the corners cut off.

Often seen patterns in glass beads are: spots and eyes; waves and combed patterns; sharp and soft zigzags, crossing zigzags; horizontal or vertical stripes in cylindrical beads; checkerboard and patchwork millefiori round beads. But plain glass beads were the most common.

Cording:

Most beads are found loose, implying a cord that has rotted away. Large-holed beads and amulets could have been strung on leather thongs, but most beads show smaller holes. A narrow leather cord breaks easily, unless made from sinew or gut. The other possibility is a linen cord that could be waxed for additional strength. Some finds show beads on metal (bronze? silver?) wire with loops at each end. These would be particularly appropriate for wearing with brooches, as the pins of the brooches could pass through the wire loops.

Books & Info on Pendant/Treasure Necklaces:

Dubin, Lois Sherr, and Robert K. Liu. The History of Beads: From 30,000 B.C. to the Present (New York: Harry N. Abrams, 1987). Excellent discussions and beautiful plates, includes a picture of several pendant necklaces.

Fitzhugh, William W., & Elisabeth I. Ward (eds.). Vikings: The North Atlantic Saga (Smithsonian Institution Press, 2000). Many good pictures, with the recently re-worked Hon necklace.

Graham-Campbell, James, and Dafydd Kidd. The Vikings. (NY: Metropolitan Museum of Art, 1980). Good pictures (bad illustrations) and the earlier re-working of the Hon necklace.

Lady's Maid Jewels: History () sells recreation jewelry, but includes a picture of the carnelian and yellow pendant necklaces.

Lothene Experimental Archeology: Jewellery (): discussion and pictures, including a very elaborate treasure necklace that seems to be a compilation of reproduction metal items rather than an actual find.

Persdotter, Viktoria. "Reconstructing Female Costume of the Viking Age" (): illustration of pendant necklace strung between brooches.

Viking Answer Lady: Beads (): pictures of both the Hon and carnelian necklaces; includes "How to Construct a Treasure Necklace."

Wareham Forge () makes reproduction pewter; includes picture of their recreation of a pendant necklace.

Wilson, David M. (ed.) The Northern World. (NY: Harry N. Abrams, Inc., 1980). Also good pictures and the earlier re-working of the Hon necklace.

Other Information on Viking Beads:

The Bead Site: Ancient Beads: Europe



Early Materials Forum: Bead Making in Viking York



Frojel (Sweden)

(“A Female Viking Age Grave”)

(“Object Gallery: Beads”)

History of the Glass Bead (Lady Sveva Lucciola)



Illuminating History: Through the Eyes of Media (Finds from Finland): Studio Photographs



Jorvik Viking Centre: Coppergate Dig



The Kaupang Investigation (Norway)





Manx National Heritage: Buried Boats and Bizarre Rites



Melanie Wilson: Beads



Timeless Beads (Lady Rixende de Rouen)



Vikingerne i England. London: Anglo-Danish Viking Project, 1981.

The Viking Raids



York Archaeology Center: Secrets Beneath Your Feet: Viking York (Jorvik): Dress



Needlelace handkerchief

Caryl de Trecesson (Carol Hanson)

Materials:

32-ct. white linen

white silk twist (Rainbow Gallery "Elegance")

Stitches:

The center is a reticella needlelace (pattern in Vinciolo and similar pattern in Vecellio) in overcast, buttonhole, and buttonhole filling stitches with Venetian buttonhole picots, surrounded by a drawn thread border in buttonhole and overcast stitches.

The edging is an attached punto-in-aria (pattern in Vecellio) in buttonhole stitch with Venetian buttonhole picots.

Style:

There is a photograph of a "very early 17th c. gown" from the Victoria and Albert online at kipar.demon.co.uk/renaissancebody.html. The mannequin carries a handkerchief of "Italian cut work and detached needle lace" (close-up at kipar.demon.co.uk/elizabethan/ dress_detail03.jpg) with a plain center and a wide double-border of reticella and punto-in-aria lace.

At costumes_survive_accessories.html (close-ups at costumes/ accessories/hanky1.jpg and costumes/accessories/hanky1_detail.jpg) is another 17th c. handkerchief from the Victoria & Albert with four corner areas and edging in drawn-thread, whitework, reticella, and punto-in-aria.

Pattern Sources:

Vecellio, Cesare. Pattern Book of Renaissance Lace: A Reprint of the 1617 Edition of the 'Corona delli Nobili e Virtuose Dame'. New York: Dover, 1988. Also published as Pizzi Antichi nei disegni di Cesare Vecellio by SugarCo (Milan), 1980.

Vinciolo, Federic. Renaissance Patterns for Lace and Embroidery; An Unabridged Facsimile of the 'Singuliers et Nouveaux Pourtraicts' of 1587. New York: Dover, 2000.

Background:

"Needlelace" is what it says: a lace made with needle and thread. The two terms most often found for early needlelace are "reticella" (or more strictly "punto reticello") and "punto in aria" ("stitches in the air"). Both are Italian terms, but the styles were known across Europe. The point at which reticella needlelace separates from cutwork ("punto tagliato" or "point coupe") and drawn thread work ("punto sfilato") is debatable since the techniques and time periods overlap. Some reticella pieces, especially earlier ones, are built on cross threads from the fabric and so have a geometric structure very like drawn thread work; others have only the edges started on fabric and the center takes shape freely. The term was known by the late 15th c. in Italy and the style is believed to have been developed even earlier in Greece or in the islands between Greece and Italy. "Punto in aria" was developed by the mid 16th c. in Italy and is a true lace built separately from fabric (though it may be inserted later) so it can take any design that can be laid out in thread.

The techniques used for both are (1) laying and couching of foundation threads, (2) buttonhole stitch over edges, foundations, and major pattern lines, (3) overcast stitch over "brides" (thin linking and strengthening threads), (4) various detached and open buttonhole stitches as fillings, (5) sometimes needleweaving (Genoa, basket-stitch, darning-stitch), and (6) often picots.

Sources:

Ambuter, Carolyn. The Open Canvas: An Instructional Encyclopedia of Openwork Techniques. New York: Workman Publishing, 1982.

Cave, Oenone. Cut-Work Embroidery and How to Do It. New York: Dover, 1982. Rev. ed. of Linen Cut-Work, London: Vista Books, 1963.

Clements, Diane. "Lessons in Reticello" in The Needleworker magazine:

June/July 1999: Pincushion (first project): all the basics, including picots

Aug/Sept 1999: Trivet (second project): elaborations

Oct/Nov 1999: Tea Cloth (third project): punto in aria, different fillings

De Dillmont, Therese. The Complete Encyclopedia of Needlework. Running Press, 1996. 3rd ed. Orig. pub. by Dollfus-Mieg Company (France), 1884. Also called DMC Encyclopedia.

Henney, Charla (Mistress Meadhbh ni Dhubhthaigh): Needlelace. Online at a_and_s/needlelace/needlelace.html, originally in Tournaments Illuminated #138, April 2001.

Kliot, Jules and Kaethe. The Needle-Made Lace of Reticella. Berkeley, CA: Lacis Publications, 1994. Reprinted selections from various sources, orig. 1881-1926, including a large section from Therese De Dillmont's Needle-Made Laces, c. 1910.

The Lace Fairy: . Several useful articles, most of which are accessible from the given overview of lace types.

Montclare, Kay. Needlearts website:

Basic Reticella ()

Picots (articles/article_3/article_3.html)

Vecellio, Cesare. Pattern Book of Renaissance Lace: A Reprint of the 1617 Edition of the 'Corona delli Nobili e Virtuose Dame'. New York: Dover, 1988. Also published as Pizzi Antichi nei disegni di Cesare Vecellio by SugarCo (Milan), 1980.

Vinciolo, Federic. Renaissance Patterns for Lace and Embroidery; An Unabridged Facsimile of the 'Singuliers Et Nouveaux Pourtraicts' of 1587. New York: Dover, 2000. Also at , the 1606 edition (3rd printing).

[pic] [pic] [pic]

early 17th century lace handkerchiefs, Victoria & Albert Museum

jane bostockes strawberries

Caryl de Trecesson (Carol Hanson)

I’ve charted several needlework patterns from photographs of the “Jane Bostocke” sampler (English, 1598, Victoria & Albert, T.190-1960) and wished to have a physical example of one of the designs. The Bostocke sampler is described in several books as being in silk and metal threads on linen in a variety of stitches.

Materials:

32-ct evenweave linen fabric (Zweigart "Belfast")

12-ply silk floss (Rainbow Gallery "Splendor"), used in 2-ply strands

metallic pearl #5 (DMC)

bits of unspun wool

Stitches:

double-running and back stitch for the leaves and vines

detached buttonhole (padded) for the berries

satin stitch for the flower

braid stitch for the border

Design:

I charted the pattern from a color photograph in Samplers from the Victoria and Albert Museum by Clare Browne and Jennifer Wearden. It was slightly changed to become a separate square instead of a continuous pattern. Another change is the use of padding under the detached buttonhole berries; the originals were either not padded or have lost their padding over the years.

Style:

This pattern is one that could have been used on light household furnishings such as pillow covers or bed linens, or used to cover boxes and books (it’s my intent to mount this piece on top of a finished box when I find an appropriate one). Although the boxes I’ve found with embosted/raised work are from the mid-17th c., there are 16th c. examples of other embroideries that use a padded detached buttonhole stitch. One example is a purse in the form of a bunch of grapes (English, late 16th or early 17th c., Victoria & Albert, T.172-1921), seen in the Guide to English Embroidery by Patricia Wardle.

Expediencies:

The border is in braid stitch. The Bostocke sampler (like many other works of the time) uses plaited braid stitch instead, but I was unable to get the plaited version to work in any of 5 different silver embroidery threads. Instead I used the plain braid stitch once I’d found a citation for it on a pillow cover (English, 2nd half 16th c., Victoria & Albert T.81-1924) in Patricia Wardle’s Guide to English Embroidery. The pillow cover is described as “linen embroidered with black silk in back, chain, cord, braid and buttonhole stitches.” There are several other works in the book that are described as having “plaited braid” stitch, so she does distinguish between the two versions in her descriptions.

My best determination of the fabric of the original Bostocke sampler is that the linen is approximately 80 threads per inch. This is based on comparisons of the size of the charted pattern, the size of the photograph, and the stated size of the sampler itself. The photograph shows the back/running stitches are over 4 threads each, for about 20 stitches per inch. On the 32-ct linen that I had, I made the stitches over 2 threads each for a final scale of 16 stitches per inch, so my version is 25% larger than the original.

Discoveries:

One difficulty I had was trying to get the two-tone strawberries to look right. For the entirely red strawberries, I worked the detached buttonhole in alternating directions (first row left to right, second row right to left, etc.). This meant no thread was run beneath the fabric; the stitches are only anchored on the sides. When I first tried making the two-color version, I tried working each color in the same direction (red: left to right, white: left to right, red: right to left, white: right to left, etc.) but this resulted in vertical stripes down the length of the berry, which is not how it appears in the original. I found that if I went back to alternating directions (red: left to right, white: right to left, etc.) it looked closer to the original. But this meant I did need to run the thread beneath the fabric to get it to the correct side for the next row.

Sources:

Beck, Thomasina. The Embroiderer’s Story: Needlework from the Renaissance to the Present Day. Devon: David & Charles, 1995.

Browne, Clare, and Jennifer Wearden. Samplers from the Victoria and Albert Museum. London: V&A Publications, 1999.

King, Donald. Samplers [Victoria and Albert Museum]. London: Her Majesty’s Stationery Office, 1960.

King, Donald, and Santina Levey. The Victoria & Albert Museum’s Textile Collection: Embroidery in Britain from 1200 to 1750. New York: Canopy Books, 1993.

Schuette, Marie, and Signid Muller-Christensen. Text translated by Donald King. A Pictorial History of Embroidery. New York: Frederick A. Praeger, 1964.

Sebba, Anne. Samplers: Five Centuries of a Gentle Craft. New York: Thames and Hudson, Inc., 1979.

Staniland, Kay. Embroiders. Toronto: University of Toronto Press, 1991. (Medieval Craftsmen series). Reprint, 1997.

Wardle, Patricia. Guide to English Embroidery [Victoria and Albert Museum]. London: Her Majesty’s Stationery Office, 1970.

Bradford pincushion

Caryl de Trecesson (Carol Hanson)

I’ve charted several needlepoint patterns from photographs of the Bradford Table Carpet (English, late 16th c., Victoria & Albert, T.143-1928) and wished to have a physical example of how one of the designs might look in real life. The carpet is described in several books as being in silk threads on heavy linen or linen canvas in tent stitch at 20 stitches per inch.

Materials:

20-ct heavy needlework fabric (Zweigart "Lugana"), 52% cotton/48% rayon

12-ply silk floss (Rainbow Gallery "Splendor"), used in 4-ply strands

cotton velveteen backing

cotton batting

tassels: 12-ply silk floss (Rainbow Gallery "Splendor"), used in 4-ply strands

wooden beads, ½” diameter

brass screw eyes

Stitches:

tent stitch

detached buttonhole on tassel heads

Design:

I charted the bird from a color photograph of the Bradford Table Carpet in Embroidery in Britain from 1200 to 1750 by Donald King and Santina Levey. The border is a smaller scale adaptation of the borders on the carpet as seen in the same photograph and in photographs from other books.

Style:

Pincushions seem to have been a common needleworked artifact in the period. Several are shown in embroidery books. In particular, there is a small 2 ½” square pincushion attached to a purse (English, early 17th c., Victoria & Albert, T.316-1898) and a larger rectangular pincushion of about 10 ½” by 6” (English, late 16th or early 17th c., Victoria & Albert, T.317-1898). Both were worked with tent stitch in silk and both have corner tassels attached with metal rings or hooks.

Expediencies:

I was unable to find linen fabric or canvas of the desired count and used a cotton/rayon version instead, since what was important to me was to duplicate the stitch count of the original. I was also unable to find unspun wool to stuff the pincushion, which I believe to have been more likely used than cotton, although cotton was available as padding in this period. Since the background material and the stuffing are not seen, I was willing to make these substitutions.

The tassels turned out to be a bit larger than desired. Next time I'll look for smaller beads.

Discoveries:

I have a much increased appreciation of the effort involved in making the Bradford Table Carpet. The entire carpet is about 13 feet by almost 6 feet (400 x 175 cm). My small pincushion is about 3 ½” square (9 cm) and took approximately 20 hours of work for the needlepoint. This implies that the entire carpet could have taken more than 17,000 hours to complete (though they were certainly more experienced and thus, one hopes, faster).

I was also concerned about my ability to make Elizabeth style tassels, where a wooden form is covered with silk or metal threads and then with detached buttonhole stitching. The ones made turned out to be much less difficult than expected.

Sources:

Beck, Thomasina. The Embroiderer’s Story: Needlework from the Renaissance to the Present Day. Devon: David & Charles, 1995.

Hanson, Carol, as Caryl de Trecesson. Designs, Period. 3rd edition. Malden, MA: Chanson Press, 1996. Privately published.

King, Donald, and Santina Levey. The Victoria & Albert Museum’s Textile Collection: Embroidery in Britain from 1200 to 1750. New York: Canopy Books, 1993.

Schuette, Marie, and Signid Muller-Christensen. Text translated by Donald King. A Pictorial History of Embroidery. New York: Frederick A. Praeger, 1964.

Staniland, Kay. Embroiders. Toronto: University of Toronto Press, 1991. (Medieval Craftsmen series). Reprint, 1997.

Wardle, Patricia. Guide to English Embroidery [Victoria and Albert Museum]. London: Her Majesty’s Stationery Office, 1970.

Cordial of divers berries

Caryl de Trecesson (Carol Hanson)

For this batch, I tried another variation on a sweet berry cordial that could be enjoyed at any time, but also test the maceration time. I was originally told to leave the berries in alcohol for at least 4 weeks. This time I followed the (slightly out-of-period) recipe and only left the berries for 5 days.

Source:

From The Queens closet opened (tenth edition 1698, original believed to be in period by some, others state the first edition was 1655), as cited in a handout by Master Aquel of Darksted Wood for the Carolingian Brewers Guild, and on the web page “The Elusive Cordial Recipes” by Rauthulfr Meistari inn Orthston, Brewers Guild, Barony of Madrone, An Tir ( cordials.html):

A cordial water of Sir Walter Raleigh. Take a gallon of Strawberries and put them into a pint of Aqua vita, let them stand so four or five days, strain them gently out and sweeten the water as you please with fine sugar; or else with perfume.

Redaction:

12 oz. bag of frozen blackberries

12 oz. bag of frozen raspberries

16 oz. bag of frozen strawberries

1 qt. 80-proof brandy (Gallo E&J)

simple syrup: 2 c. white granulated sugar to 1 c. water

I used brandy for the “Aqua vita” because research suggests that the distillation process in this period may not have been efficient enough to remove all flavorings from the wine base. Alexis Lichine’s Encyclopedia of Wines and Spirits (NY: Alfred A. Knopf, 1967) states that a first distillation of wine in a pot-still results in a liquor of about 25% alcohol and a second distillation could get to 60%-70% alcohol. Armagnac brandy uses continuous distillation and is about 52%-60% percent alcohol when first distilled (Armagnac Castarede, ). Cognac is double-distilled and is 28%-32% alcohol after the first and 67%-72% alcohol after the second (Bureau National Interprofesionnel du Cognac, elabo_distill_detail.htm). Modern vodka is multiply distilled to over 90% alcohol before being diluted with water.

Maceration Process:

The frozen fruit was put in a glass jar and covered with brandy, then left for only 5 days, but stirred each day. The solid material was strained out and squeezed through a nylon coffee filter and unbleached paper coffee filters. A simple sugar syrup was then added in the proportions of 1 cup of syrup to 2 cups of liquor.

Comments:

This turned out very sweet but very drinkable, as with other berry cordials I've made in the same proportions, and with the same amount of berry flavor as similar cordials macerated for 4-5 weeks. But all the ones I've made have been with frozen fruit, which allows the flavors to be more easily extracted than from fresh fruit. Fresh fruit might show more of a difference.

aqua composita for a surfet

Caryl de Trecesson (Carol Hanson)

This is a medicinal cordial to be taken for a "surfet" (= "surfeit"), i.e., after eating too much food, and most of the various herbs and spices used were considered aids to the stomach and digestion. This is also an unusual recipe in that it uses "strong ale" instead of wine, so the distillate I've used is whisky rather than a vodka or brandy.

The recipe does not call for any maceration time. Also, I had recently been having a discussion with someone on the SCA-brew list who had suggested that the heat of distillation should be taken into account when preparing period cordials. And I had previously noticed that a single distillation (as in this recipe) would result in a lower proof alcohol than we usually use for cordials. I combined these three notions by heating the mixture openly on the stove for 1/2 hour to (1) extract the flavors through decoction rather than maceration, (2) mimic the heat of distillation, and (3) reduce the final proof of the cordial.

Source:

From Thomas Dawson’s The Good Huswifes Jewell, 1596 (Falconwood Press, 1988):

To make Aqua composita for a surfet. [This edition says "surset"!]

Take Rosemary, Fennell, Isope, Time, Sage, Horehound, of each of these a handfull, Pennirial, red mints Margerum, of each sixe crops ["the head of a flower or herb", OED], a roote of Enula Campana, of Licoras, Annyseeds brused of each two ounces, put all these to three gallons of mightie strong Ale, and put it into a brasse pot over an easie fire, and set the Limbecke upon it, and stop it close with dowe or paste, that no aire doe goe out, and so keept it stilling with a softe fire, and so preserve it to your use as need requireth.

Redaction:

3/8 tsp. fresh rosemary leaves

3/8 tsp. fresh fennel leaves

3/8 tsp. fresh hyssop leaves

3/8 tsp. fresh thyme leaves

3/8 tsp. fresh sage leaves

3/8 tsp. fresh horehound leaves

3/4 tsp. fresh pennyroyal leaves

3/4 tsp. fresh mint (peppermint/spearmint) leaves

3/4 tsp. fresh marjoram leaves

1/8 tsp. dried elecampane root

3/4 tsp. dried licorice root

1 ½ tsp. anise seeds, bruised with mortar & pestle

3 c. 80-proof scotch whisky (Scoresby)

½ c. superfine sugar

My estimate was that one handful was approximately 2 tablespoons of fresh herbs, and so 2 TB per 3 gallons => 6 tsp. per 48 cups => 1/8 tsp. per cup of liquid.

I was unsure of the amount of 6 "crops" since the herbs mentioned don't seem to have noticeable heads and taking the tops of the stalks could end up being less or more than "a handful." But these three herbs are even more strongly recommended for stomach ailments than the first bunch, so I decided to consider this a larger amount and doubled the quantity used for the others.

I didn't have a fresh elecampane root, and the flavor is very strong and somewhat bitter, so I used a small amount of dried root. I used dried licorice root in what seemed a reasonable quantity. Two ounces of anise seed is about ½ cup, so ½ cup per 3 gallons => 24 tsp. per 48 cups => ½ tsp. per cup of liquid.

The sugar is not called for, but similar medicinal cordials talk about people adding sugar when drinking it: "...and maketh fat folk to becom leane, or maketh fat the leane, if they drink it mixt with sugar" (1564? recipe from Maison Rustique).

Process:

All the ingredients (except the sugar) were added to the whisky. The mixture was carefully heated in an open pot on an electric stove for 1/2 hour. The heat was kept low enough so that the mixture did not boil, but high enough so that noticeable vapors were rising from the mixture. This left about 2 cups of liquid.

Result:

A cordial "tea" of strong herbal flavor. I don't have an instrument for measuring the final percentage of alcohol, so could only guess at the length of time to heat the mix, but the result is certainly lower proof than the original whisky. The taste is truly "medicinal" to some, but others find it more like a Chartreuse liqueur.

Medicinal Qualities:

Most of the information here comes from Nicholas Culpeper's Compleat Herbal. Information marked "Grieve" comes from A Modern Herbal ( mgmh.html) by Mrs. M. Grieve, first published in 1931, which often references early sources.

According the general theory of humors, most bodily ills are the result of an imbalance in the body's quantities of blood (hot and moist), choler (hot and dry), phlegm (cold and moist), and melancholy (cold and dry). Culpeper more specifically assigns the production of these to the liver, and says that "Flegm is made of meat not perfectly digested." To counter phlegm, the ingredients in the medicine must be hot and dry, and Culpeper puts all of these herbs in those categories.

Rosemary

Culpeper: Hot and dry; to "heat the head, heat the heart, heat the joints, ease pain...It is an herb of as great use with us in these days as any whatsoever, not only for physical but civil purposes. The physical use of it (being my present task) is very much used both for inward and outward diseases, for by the warming and comforting heat thereof it helps all cold diseases both of the head, stomach, liver, and belly.... It is very comfortable to the stomach in all the cold griefs thereof, helps both retention of meat, and digestion, the decoction or powder being taken in wine. It is a remedy for the windiness in the stomach, bowels, and spleen, and expels it powerfully. It helps those that are liver-grown, by opening the obstructions thereof."

Grieve: "Tonic, astringent, diaphoretic, stimulant. Oil of Rosemary has the carminative properties of other volatile oils and is an excellent stomachic...The young tops, leaves and flowers can be made into an infusion, called Rosemary Tea, which, taken warm, is a good remedy for removing headache, colic, colds and nervous diseases...."

From Jadwiga Zajaczkowa's site "Jadwiga's Stillroom Book: On the Medieval and Renaissance Use of Herbs" ():

"Banckes [Banckes' Herbal. Author unknown, published 1525] and Culpeper say it was used for stomach troubles and to clear the head...."

Fennel

Culpeper: to "heat the stomach, heat the breast, heat the liver, expel wind, resist poison...The leaves, or rather the seeds, boiled in water, stays the hiccough, and takes away the loathings which oftentimes happen to the stomachs of sick and feverish persons, and allays the heat thereof....Both leaves, seeds, and roots thereof are much used in drink or broth, to make people more lean that are too fat."

Grieve: "On account of its aromatic and carminative properties, Fennel fruit is chiefly used medicinally with purgatives to allay their tendency to griping and for this purpose forms one of the ingredients of the well-known compound Liquorice Powder. Fennel water has properties similar to those of anise and dill water: mixed with sodium bicarbonate and syrup, these waters constitute the domestic 'Gripe Water,' used to correct the flatulence of infants."

Hyssop

Culpeper: to "heat the breast, heat the liver...taken also with oxymel, it purges gross humours by stool; and with honey, kills worms in the belly; and with fresh and new figs bruised, helps to loosen the belly...."

Grieve: "Expectorant, diaphoretic, stimulant, pectoral, carminative. The healing virtues of the plant are due to a particular volatile oil, which is stimulative, carminative and sudorific....Hyssop Tea is also a grateful drink, well adapted to improve the tone of a feeble stomach, being brewed with the green tops of the herb...."

Thyme

Culpeper: Hot and dry; to "heat the stomach, heat the breast, heat the womb, extenuate...It purges the body of phlegm, and is an excellent remedy for shortness of breath. It kills worms in the belly...It is so harmless you need not fear the use of it....The herb taken any way inwardly, comforts the stomach much, and expels wind."

Grieve: "Antiseptic, antispasmodic, tonic and carminative....Thyme tea will arrest gastric fermentation. It is useful in cases of wind spasms and colic...."

Sage

Culpeper: Hot and dry; to "heat the stomach, heat the liver, heat the womb...Matthiolus saith, it is very profitable for all manner of pains in the head coming of cold and rheumatic humours: as also for all pains of the joints, whether inwardly or outwardly, and therefore helps the falling-sickness, the lethargy such as are dull and heavy of spirit, the palsy; and is of much use in all defluctions of rheum from the head, and for the diseases of the chest or breast."

Grieve: "Stimulant, astringent, tonic and carminative. Has been used in dyspepsia, but is now mostly employed as a condiment....It is highly serviceable as a stimulant tonic in debility of the stomach and nervous system and weakness of digestion generally."

Horehound

Culpeper: Hot and dry; to "heat the breast, heat the liver, heat the spleen, cleanse, resist poison...A decoction of the dried herb, with the seed, or the juice of the green herb taken with honey, is a remedy for those that are short-winded, have a cough, or are fallen into a consumption, either through long sickness, or thin distillations of rheum upon the lungs....A decoction of Horehound (saith Matthiolus) is available for those that have hard livers...."

Grieve: "White Horehound has long been noted for its efficacy in lung troubles and coughs...."

Pennyroyal

Culpeper: Hot and dry; to "heat the head, heat the reins and bladder, heat the womb, extenuate, resist poison...Dioscorides saith, that Pennyroyal makes thin tough phlegm, warms the coldness of any part whereto it is applied, and digests raw or corrupt matter....It eases head-aches, pains of the breast and belly, and gnawings of the stomach...."

Grieve: "Its action is carminative, diaphoretic, stimulant and emmenagogic, and is principally employed for the last-named property in disorders caused by sudden chill or cold. It is also beneficial in cases of spasms, hysteria, flatulence and sickness, being very warming and grateful to the stomach."

"Red Mint"

Culpeper on "mints": Hot and dry; to "heat the stomach, heat the womb...It suffers not milk to curdle in the stomach, if the leaves thereof be steeped or boiled in it before you drink it. Briefly it is very profitable to the stomach....Simeon Sethi saith, it helps a cold liver, strengthens the belly, causes digestion, stays vomits and hiccough; it is good against the gnawing of the heart, provokes appetite, takes away obstructions of the liver, and stirs up bodily lust;...The powder of it being dried and taken after meat, helps digestion, and those that are splenetic."

Grieve on "peppermint": "the French varieties of M. piperita are not identical with those cultivated in England. The variety cultivated in France is known as 'Red Mint' and can grow on certain soils where the true Peppermint does not grow....Peppermint oil is the most extensively used of all the volatile oils, both medicinally and commercially. The characteristic anti-spasmodic action of the volatile oil is more marked in this than in any other oil, and greatly adds to its power of relieving pains arising in the alimentary canal. From its stimulating, stomachic and carminative properties, it is valuable in certain forms of dyspepsia, being mostly used for flatulence and colic. It may also be employed for other sudden pains and for cramp in the abdomen; wide use is made of Peppermint in cholera and diarrhoea. It is generally combined with other medicines when its stomachic effects are required, being also employed with purgatives to prevent griping."

From Jadwiga Zajaczkowa's site "Jadwiga's Stillroom Book: On the Medieval and Renaissance Use of Herbs" ():

"Mint was considered sovereign for stomach aliments....Banckes [Banckes' Herbal. Author unknown, published 1525] mentions mint, white mint and red mint (garden mint). Banckes suggests a mouthwash of mint steeped in wine or vinegar for toothache, and rubbing the powder on the teeth for a 'sweet mouth'; also suggests it to restore appetite and for all digestive disturbances."

From Cindy Renfrow's excerpts from John Gerard's Herball or General Historie of Plantes, in 1633 ():

"Garden Mint taken in meat or drinke warmeth and strengtheneth the stomacke...and causeth good digestion."

Marjoram

Culpeper: Hot and dry; to "discuss, expel wind, ease pain...Our common Sweet Marjoram is warming and comfortable in cold diseases of the head, stomach, sinews, and other parts, taken inwardly, or outwardly applied. The decoction thereof being drank, helps all diseases of the chest which hinder the freeness of breathing, and is also profitable for the obstructions of the liver and spleen....The decoction thereof made with some Pellitory of Spain, and long Pepper, or with a little Acorns or Origanum, being drank, is good for those that cannot make water, and against pains and torments in the belly...."

Grieve: "Its properties are stimulant, carminative, diaphoretic and mildly tonic; a useful emmenagogue....In the commencement of measles, it is useful in producing a gentle perspiration and bringing out the eruption, being given in the form of a warm infusion, which is also valuable in spasms, colic, and to give relief from pain in dyspeptic complaints."

Elecampane

Culpeper: Hot and dry; to "heat the breast and lungs, heat the stomach, resist poison...The fresh roots of Elecampane preserved with sugar, or made into a syrup or conserve, are very effectual to warm a cold windy stomach, or the pricking therein...The dried root made into powder, and mixed with sugar, and taken, serves to the same purpose...The decoction of the roots in wine, or the juice taken therein, kills and drives forth all manner of worms in the belly, stomach, and maw...." The syrup is "wholesome for the stomach, resists poison...."

Grieve: "'Julia Augustus,' said Pliny, 'let no day pass without eating some of the roots of Enula, considered to help digestion and cause mirth.' ...Diuretic, tonic, diaphoretic, expectorant, alterative, antiseptic, astringent and gently stimulant....Gerard tells us: ''It is good for shortnesse of breathe and an old cough, and for such as cannot breathe unless they hold their neckes upright.' And further: 'The root of Elecampane is with good success mixed with counterpoisons, it is a remedy against the biting of serpents, it resisteth poison. It is good for them that are bursten and troubled with cramps and convulsions.' 'The wine wherein the root of Elicampane hath steept,' says Markham (Countrie Farme 1616), 'is singularly good against the colicke.' "

Licorice

Culpeper: Hot; to "heat the breast and lungs...The juice of Liquorice is as effectual in all the diseases of the breast and lungs, the reins and bladder, as the decoction...." The syrup "concocts raw humours in the stomach, helps difficulty of breathing, is profitable for all salt humours...."

Grieve: "The action of Liquorice is demulcent, moderately pectoral and emollient....Fluid Extract of Liquorice is employed almost exclusively as a vehicle for disguising the taste of nauseous medicines, having a remarkable power of converting the flavour of acrid or bitter drugs, such as Mezereon, Quinine or Cascara."

Anise Seeds

Culpeper: Hot and dry; to "heat the stomach, liver, spleen, expel wind, resist poison...Annis seeds, heat and dry, ease pain, expel wind, cause a sweet breath, help the dropsy, resist poison, breed milk, and stop the Fluor Albus in women, provoke venery, and ease the head-ache."

Grieve: "Turner's Herbal, 1551, says that 'Anyse maketh the breth sweter and swageth payne.' ... Carminative and pectoral....The stimulant and carminative properties of Anise make it useful in flatulency and colic. It is used as an ingredient of cathartic and aperient pills, to relieve flatulence and diminish the griping of purgative medicines...."

Glossary for Grieve (from ):

alterative: gradually alters or changes a condition by gradually restoring health and normalcy

antispasmodic: prevents or relieves spasms of the voluntary and involuntary muscles, as in epilepsy, dysmenorrhea, intestinal cramping, charley horse, etc.

aperient: a mild laxative, causing evacuation of the bowels without irritation and griping

aromatic: a pungent agent often having an agreeable odor; acts to stimulate the appetite and gastric secretion based on the action of the volatile oil or other aromatic principle; aromatics are used to relieve flatulence, open nasal passages, improve palatability of medicines or give a psychological boost

carminative: relieves gases from the gastrointestinal tract and relieves colic

cathartic: active purgative, producing bowel movements and evacuation of the bowels

demulcent: soothes and protects the part or soften the skin to which applied; usually restricted to agents acting on mucous membrane

diaphoretic: increases perspiration

dyspepsia: indigestion

emmenagogic: promotes or assists the flow of menstrual fluid

emollient: softens, soothes and protects the part when applied locally; usually confined to agents affecting the surface of the body

pectoral: relieves chest conditions or respiratory disorders

stimulant: temporarily increases functional activity

stomachic: stimulates the appetite and gastric secretion

sudorific: promotes or increases perspiration; causes drops of perspiration on the skin

tonic: restorative; invigorates and strengthens all systems and organs

four cordial cherry waters

Caryl de Trecesson (Carol Hanson)

Background:

I have been researching what would be the best modern alcohol to use for an "aqua vita" in period cordial recipes. These four cordials use (1) the same recipe (chosen because it is unusually specific in the amounts), (2) the same redaction, (3) the same quality of ingredients (same bag of cherries, same batches of spices), (4) the same bottles, and (5) the same environment. The only difference is the distillate used.

There has been a continuing controversy over which distillate to use in cordial-making. Initial research suggested that the distillation process in this period was not efficient enough to remove all flavorings from the wine base, so the distilled liquor would have been more like a brandy than otherwise. Alexis Lichine's Encyclopedia of Wines and Spirits (NY: Alfred A. Knopf, 1967) states that a first distillation of wine in a pot-still results in a liquor of about 25% alcohol and a second distillation could get to 60-70% alcohol. Armagnac brandy uses continuous distillation from white wines and is about 52%-60% percent alcohol when first distilled (Armagnac Castarede, ). Cognac is double-distilled and is 28-32% alcohol after the first and no more than 72% alcohol after the second (Bureau National Interprofesionnel du Cognac, cognac_elabo_distill_detail.htm). Brandy is then generally diluted to 40% alcohol for distribution.

Modern vodka is multiply distilled to over 90% alcohol before being diluted to about 40-50% alcohol. Repeated and multiple distillations were both known and used in period times so that they really could have achieved an unflavored liquor more like vodka.

Brandy has additional flavors and color of the tannin from the oak barrels in which it's been aged for 2 or more years (a plus for brandy connoisseurs, but a minus for period cordial-makers). But there is also a clear brandy made by Christian Brothers called "Frost White" which is 35% alcohol, not aged in wood, that had been recommended by several SCA cordiallers.

I was also able to find "grappa" which is an Italian liquor classified as a brandy because it's distilled from a grape base. It's actually distilled from the leftover residue from wine-making: grape pomace, skins, stems, and seeds, though the best grappas use residue with 30-40% wine or juice left in the grapes. Grappas are only aged from 6 months (minimum required by Italian law) to 1 year in glass or stainless steel. There are some aged in wooden barrels but these are easily distinguished by having a golden color, like a light-colored brandy, whereas most grappas are clear. Grappas are about 40-50% alcohol as sold (I haven't been able to confirm their original proof after distillation), or about the same proof as a standard vodka.

I was not able to find some other possible cordial bases. The French make a "marc" or "pomace brandy" from leftover grape residue that's usually not aged; I'm not sure of the alcohol content. There's a Central and South American grape brandy called "pisco" that is usually not aged in wood and runs from 30-50% alcohol. There's another grape brandy which is made in both South America ("aguardiente") and Portugal ("aguardente"), is 30-40% alcohol, also occasionally aged in wood, and sometimes even flavored with anise. In the USA, there's the Clear Creek Distillery in Oregon which makes both a grappa and a marc brandy.

Source:

From The Queens closet opened (tenth edition 1698, original believed to be in period by some but others state the first edition was 1655), as cited in "The Elusive Cordial Recipes () by Rauthulfr Meistari inn Orthston, Brewers Guild, Barony of Madrone, An Tir.

A cordial Cherry-water.

Take a pottle of Aqua vitae, two ounces of ripe Cherries, stoned, sugar 1 pound, twenty four Clovens, one stick of Cinamon, three spoonfuls of Aniseeds bruised, let these stand in the Aqua Vitae fifteen days, and when the water hath fully drawn out the tincture, pour it off into another glas for your use, which keep close stopped, the Spice and the Cherries you may keep for they are very good for winde in the Stomach.

Redaction:

1 pt. alcohol, one of the following:

70-proof white/clear brandy (Christian Brothers Frost White)

80-proof regular brandy (Gallo E&J)

80-proof vodka (Gordons)

100-proof grappa (Nardini Aquavite)

½ oz. ripe dark red cherries (about 2), stoned and halved

¼ lb. white granulated sugar (about ½ cup)

6 cloves

½ of thin 3" stick of cinnamon

¾ tsp. anise seeds, bruised with mortar & pestle

Since a "pottle" is 2 quarts (i.e., the unit of measure between a quart and a gallon) and I was using 1 pint, all amounts were reduced to ¼ of the original recipe.

Maceration:

All ingredients were added to the alcohol base and let sit for 15 days, shaking/stirring occasionally. At the end of that time, the cordial was filtered through a nylon coffee filter, then filtered again through unbleached paper coffee filters.

Results:

Color definitely provides a clue as to the alcohol used, and some of the colors are more pleasing than others. There is some difference in proof that is also discernable. Other than that, it may be a matter of personal preference.

aqua composita for a surfet

Caryl de Trecesson (Carol Hanson)

This is a medicinal cordial to be taken for a "surfet" (= "surfeit"), i.e., after eating too much food, and most of the various herbs and spices used were considered aids to the stomach and digestion. This is also an unusual recipe in that it uses "strong ale" instead of wine, so the distillate I've used is whisky rather than a vodka or brandy.

The recipe does not call for any maceration time. Also, I had recently been having a discussion with someone on the SCA-brew list who had suggested that the heat of distillation should be taken into account when preparing period cordials. And I had previously noticed that a single distillation (as in this recipe) would result in a lower proof alcohol than we usually use for cordials. I combined these three notions by heating the mixture openly on the stove for 1/2 hour to (1) extract the flavors through decoction rather than maceration, (2) mimic the heat of distillation, and (3) reduce the final proof of the cordial.

Source:

From Thomas Dawson’s The Good Huswifes Jewell, 1596 (Falconwood Press, 1988):

To make Aqua composita for a surfet. [This edition says "surset"!]

Take Rosemary, Fennell, Isope, Time, Sage, Horehound, of each of these a handfull, Pennirial, red mints Margerum, of each sixe crops ["the head of a flower or herb", OED], a roote of Enula Campana, of Licoras, Annyseeds brused of each two ounces, put all these to three gallons of mightie strong Ale, and put it into a brasse pot over an easie fire, and set the Limbecke upon it, and stop it close with dowe or paste, that no aire doe goe out, and so keept it stilling with a softe fire, and so preserve it to your use as need requireth.

Redaction:

3/8 tsp. fresh rosemary leaves

3/8 tsp. fresh fennel leaves

3/8 tsp. fresh hyssop leaves

3/8 tsp. fresh thyme leaves

3/8 tsp. fresh sage leaves

3/4 tsp. fresh marjoram leaves

1/8 tsp. dried elecampane root

1 ½ tsp. anise seeds, bruised with mortar & pestle

3 c. scotch whisky (Scoresby)

½ c. sugar

My estimate was that one handful was approximately 2 tablespoons of fresh herbs, and so 2 TB per 3 gallons => 6 tsp. per 48 cups => 1/8 tsp. per cup of liquid.

I was unsure of the amount of 6 "crops" since the herbs mentioned don't seem to have noticeable heads and taking the tops of the stalks could end up being less or more than "a handful." But these three herbs are even more strongly recommended for stomach ailments than the first bunch, so I decided to consider this a larger amount and doubled the quantity of marjoram. I didn't have horehound or pennyroyal; marjoram is of the mint family and it's unclear if "red mints" is a separate item or just a modifier for "Marjoram" so I chose to leave out any additional mint.

I didn't have a fresh elecampane root, and the flavor is very strong and somewhat bitter, so I used a small amount of dried root. I didn't have licorice root. Two ounces of anise seed is about ½ cup, so ½ cup per 3 gallons => 24 tsp. per 48 cups => ½ tsp. per cup of liquid.

The sugar is not called for, but similar medicinal cordials talk about people adding sugar when drinking it: "...and maketh fat folk to becom leane, or maketh fat the leane, if they drink it mixt with sugar" (1564? recipe from Maison Rustique).

Process:

All the ingredients (except the sugar) were added to the whisky. The mixture was carefully heated in an open pot on an electric stove for 1/2 hour. The heat was kept low enough so that the mixture did not boil, but high enough so that noticeable vapors were rising from the mixture. This left about 2 cups of liquid.

Result:

A cordial "tea" of strong herbal flavor. I don't have an instrument for measuring the final percentage of alcohol, so could only guess at the length of time to heat the mix, but the result is certainly lower proof than the original whisky. The taste is truly "medicinal" to some, but others find it more like a Chartreuse liqueur.

Medicinal Qualities:

Most of the information here comes from Nicholas Culpeper's Compleat Herbal. Information marked "Grieve" comes from A Modern Herbal ( mgmh.html) by Mrs. M. Grieve, first published in 1931, which often references early sources.

According the general theory of humors, most bodily ills are the result of an imbalance in the body's quantities of blood (hot and moist), choler (hot and dry), phlegm (cold and moist), and melancholy (cold and dry). Culpeper more specifically assigns the production of these to the liver, and says that "Flegm is made of meat not perfectly digested." To counter phlegm, the ingredients in the medicine must be hot and dry, and Culpeper puts all of these herbs in those categories.

Rosemary

Culpeper: Hot and dry; to "heat the head, heat the heart, heat the joints, ease pain...It is an herb of as great use with us in these days as any whatsoever, not only for physical but civil purposes. The physical use of it (being my present task) is very much used both for inward and outward diseases, for by the warming and comforting heat thereof it helps all cold diseases both of the head, stomach, liver, and belly.... It is very comfortable to the stomach in all the cold griefs thereof, helps both retention of meat, and digestion, the decoction or powder being taken in wine. It is a remedy for the windiness in the stomach, bowels, and spleen, and expels it powerfully. It helps those that are liver-grown, by opening the obstructions thereof."

Grieve: "Tonic, astringent, diaphoretic, stimulant. Oil of Rosemary has the carminative properties of other volatile oils and is an excellent stomachic...The young tops, leaves and flowers can be made into an infusion, called Rosemary Tea, which, taken warm, is a good remedy for removing headache, colic, colds and nervous diseases...."

From Jadwiga Zajaczkowa's site "Jadwiga's Stillroom Book: On the Medieval and Renaissance Use of Herbs" ():

"Banckes [Banckes' Herbal. Author unknown, published 1525] and Culpeper say it was used for stomach troubles and to clear the head...."

Fennel

Culpeper: to "heat the stomach, heat the breast, heat the liver, expel wind, resist poison...The leaves, or rather the seeds, boiled in water, stays the hiccough, and takes away the loathings which oftentimes happen to the stomachs of sick and feverish persons, and allays the heat thereof....Both leaves, seeds, and roots thereof are much used in drink or broth, to make people more lean that are too fat."

Grieve: "On account of its aromatic and carminative properties, Fennel fruit is chiefly used medicinally with purgatives to allay their tendency to griping and for this purpose forms one of the ingredients of the well-known compound Liquorice Powder. Fennel water has properties similar to those of anise and dill water: mixed with sodium bicarbonate and syrup, these waters constitute the domestic 'Gripe Water,' used to correct the flatulence of infants."

Hyssop

Culpeper: to "heat the breast, heat the liver...taken also with oxymel, it purges gross humours by stool; and with honey, kills worms in the belly; and with fresh and new figs bruised, helps to loosen the belly...."

Grieve: "Expectorant, diaphoretic, stimulant, pectoral, carminative. The healing virtues of the plant are due to a particular volatile oil, which is stimulative, carminative and sudorific....Hyssop Tea is also a grateful drink, well adapted to improve the tone of a feeble stomach, being brewed with the green tops of the herb...."

Thyme

Culpeper: Hot and dry; to "heat the stomach, heat the breast, heat the womb, extenuate...It purges the body of phlegm, and is an excellent remedy for shortness of breath. It kills worms in the belly...It is so harmless you need not fear the use of it....The herb taken any way inwardly, comforts the stomach much, and expels wind."

Grieve: "Antiseptic, antispasmodic, tonic and carminative....Thyme tea will arrest gastric fermentation. It is useful in cases of wind spasms and colic...."

Sage

Culpeper: Hot and dry; to "heat the stomach, heat the liver, heat the womb...Matthiolus saith, it is very profitable for all manner of pains in the head coming of cold and rheumatic humours: as also for all pains of the joints, whether inwardly or outwardly, and therefore helps the falling-sickness, the lethargy such as are dull and heavy of spirit, the palsy; and is of much use in all defluctions of rheum from the head, and for the diseases of the chest or breast."

Grieve: "Stimulant, astringent, tonic and carminative. Has been used in dyspepsia, but is now mostly employed as a condiment....It is highly serviceable as a stimulant tonic in debility of the stomach and nervous system and weakness of digestion generally."

Horehound

Culpeper: Hot and dry; to "heat the breast, heat the liver, heat the spleen, cleanse, resist poison...A decoction of the dried herb, with the seed, or the juice of the green herb taken with honey, is a remedy for those that are short-winded, have a cough, or are fallen into a consumption, either through long sickness, or thin distillations of rheum upon the lungs....A decoction of Horehound (saith Matthiolus) is available for those that have hard livers...."

Grieve: "White Horehound has long been noted for its efficacy in lung troubles and coughs...."

Pennyroyal

Culpeper: Hot and dry; to "heat the head, heat the reins and bladder, heat the womb, extenuate, resist poison...Dioscorides saith, that Pennyroyal makes thin tough phlegm, warms the coldness of any part whereto it is applied, and digests raw or corrupt matter....It eases head-aches, pains of the breast and belly, and gnawings of the stomach...."

Grieve: "Its action is carminative, diaphoretic, stimulant and emmenagogic, and is principally employed for the last-named property in disorders caused by sudden chill or cold. It is also beneficial in cases of spasms, hysteria, flatulence and sickness, being very warming and grateful to the stomach."

"Red Mint" (if separate)

Culpeper on "mints": Hot and dry; to "heat the stomach, heat the womb...It suffers not milk to curdle in the stomach, if the leaves thereof be steeped or boiled in it before you drink it. Briefly it is very profitable to the stomach....Simeon Sethi saith, it helps a cold liver, strengthens the belly, causes digestion, stays vomits and hiccough; it is good against the gnawing of the heart, provokes appetite, takes away obstructions of the liver, and stirs up bodily lust;...The powder of it being dried and taken after meat, helps digestion, and those that are splenetic."

Grieve on "peppermint": "the French varieties of M. piperita are not identical with those cultivated in England. The variety cultivated in France is known as 'Red Mint' and can grow on certain soils where the true Peppermint does not grow....Peppermint oil is the most extensively used of all the volatile oils, both medicinally and commercially. The characteristic anti-spasmodic action of the volatile oil is more marked in this than in any other oil, and greatly adds to its power of relieving pains arising in the alimentary canal. From its stimulating, stomachic and carminative properties, it is valuable in certain forms of dyspepsia, being mostly used for flatulence and colic. It may also be employed for other sudden pains and for cramp in the abdomen; wide use is made of Peppermint in cholera and diarrhoea. It is generally combined with other medicines when its stomachic effects are required, being also employed with purgatives to prevent griping."

From Jadwiga Zajaczkowa's site "Jadwiga's Stillroom Book: On the Medieval and Renaissance Use of Herbs" ():

"Mint was considered sovereign for stomach aliments....Banckes [Banckes' Herbal. Author unknown, published 1525] mentions mint, white mint and red mint (garden mint). Banckes suggests a mouthwash of mint steeped in wine or vinegar for toothache, and rubbing the powder on the teeth for a 'sweet mouth'; also suggests it to restore appetite and for all digestive disturbances."

From Cindy Renfrow's excerpts from John Gerard's Herball or General Historie of Plantes, in 1633 ():

"Garden Mint taken in meat or drinke warmeth and strengtheneth the stomacke...and causeth good digestion."

Marjoram

Culpeper: Hot and dry; to "discuss, expel wind, ease pain...Our common Sweet Marjoram is warming and comfortable in cold diseases of the head, stomach, sinews, and other parts, taken inwardly, or outwardly applied. The decoction thereof being drank, helps all diseases of the chest which hinder the freeness of breathing, and is also profitable for the obstructions of the liver and spleen....The decoction thereof made with some Pellitory of Spain, and long Pepper, or with a little Acorns or Origanum, being drank, is good for those that cannot make water, and against pains and torments in the belly...."

Grieve: "Its properties are stimulant, carminative, diaphoretic and mildly tonic; a useful emmenagogue....In the commencement of measles, it is useful in producing a gentle perspiration and bringing out the eruption, being given in the form of a warm infusion, which is also valuable in spasms, colic, and to give relief from pain in dyspeptic complaints."

Elecampane

Culpeper: Hot and dry; to "heat the breast and lungs, heat the stomach, resist poison...The fresh roots of Elecampane preserved with sugar, or made into a syrup or conserve, are very effectual to warm a cold windy stomach, or the pricking therein...The dried root made into powder, and mixed with sugar, and taken, serves to the same purpose...The decoction of the roots in wine, or the juice taken therein, kills and drives forth all manner of worms in the belly, stomach, and maw...." The syrup is "wholesome for the stomach, resists poison...."

Grieve: "'Julia Augustus,' said Pliny, 'let no day pass without eating some of the roots of Enula, considered to help digestion and cause mirth.' ...Diuretic, tonic, diaphoretic, expectorant, alterative, antiseptic, astringent and gently stimulant....Gerard tells us: ''It is good for shortnesse of breathe and an old cough, and for such as cannot breathe unless they hold their neckes upright.' And further: 'The root of Elecampane is with good success mixed with counterpoisons, it is a remedy against the biting of serpents, it resisteth poison. It is good for them that are bursten and troubled with cramps and convulsions.' 'The wine wherein the root of Elicampane hath steept,' says Markham (Countrie Farme 1616), 'is singularly good against the colicke.' "

Licorice

Culpeper: Hot; to "heat the breast and lungs...The juice of Liquorice is as effectual in all the diseases of the breast and lungs, the reins and bladder, as the decoction...." The syrup "concocts raw humours in the stomach, helps difficulty of breathing, is profitable for all salt humours...."

Grieve: "The action of Liquorice is demulcent, moderately pectoral and emollient....Fluid Extract of Liquorice is employed almost exclusively as a vehicle for disguising the taste of nauseous medicines, having a remarkable power of converting the flavour of acrid or bitter drugs, such as Mezereon, Quinine or Cascara."

Anise Seeds

Culpeper: Hot and dry; to "heat the stomach, liver, spleen, expel wind, resist poison...Annis seeds, heat and dry, ease pain, expel wind, cause a sweet breath, help the dropsy, resist poison, breed milk, and stop the Fluor Albus in women, provoke venery, and ease the head-ache."

Grieve: "Turner's Herbal, 1551, says that 'Anyse maketh the breth sweter and swageth payne.' ... Carminative and pectoral....The stimulant and carminative properties of Anise make it useful in flatulency and colic. It is used as an ingredient of cathartic and aperient pills, to relieve flatulence and diminish the griping of purgative medicines...."

Glossary for Grieve (from ):

alterative: gradually alters or changes a condition by gradually restoring health and normalcy

antispasmodic: prevents or relieves spasms of the voluntary and involuntary muscles, as in epilepsy, dysmenorrhea, intestinal cramping, charley horse, etc.

aperient: a mild laxative, causing evacuation of the bowels without irritation and griping

aromatic: a pungent agent often having an agreeable odor; acts to stimulate the appetite and gastric secretion based on the action of the volatile oil or other aromatic principle; aromatics are used to relieve flatulence, open nasal passages, improve palatability of medicines or give a psychological boost

carminative: relieves gases from the gastrointestinal tract and relieves colic

cathartic: active purgative, producing bowel movements and evacuation of the bowels

demulcent: soothes and protects the part or soften the skin to which applied; usually restricted to agents acting on mucous membrane

diaphoretic: increases perspiration

dyspepsia: indigestion

emmenagogic: promotes or assists the flow of menstrual fluid

emollient: softens, soothes and protects the part when applied locally; usually confined to agents affecting the surface of the body

pectoral: relieves chest conditions or respiratory disorders

stimulant: temporarily increases functional activity

stomachic: stimulates the appetite and gastric secretion

sudorific: promotes or increases perspiration; causes drops of perspiration on the skin

tonic: restorative; invigorates and strengthens all systems and organs

Vinciolo Vecellio

Both from Vecellio

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