Search Results

Your search for peacock returned the following results.

So this recipe is a bit of history copulation of several research papers I’ve done in the past and a really good recipe that makes use of ALL the research done.  If you’ve read the papers, just skip to the recipe.

Roman Cooking and making of a “Peacock” Pie

By

Honorable Lady Sosha Lyon’s O’Rourke

 

 

Intro to Roman Cooking:

Roman cooking spans several centuries with a rich collection of recipes.  Manuscripts depicting the Roman table are rare due to the age, delicacy of these scrolls and the plundering of the Roman Empire.  However there have been a few manuscripts and letters that have survived and translated that bring us a better understanding of what a Roman table is like, from dinning styles and dishes, to foods and sumptuary laws.  (Grant, Vehling)

Kitchen:

Joan Liversidge writes in The Roman Cookery book,  that most of what is known in modern day about the Roman kitchen comes from ruins with the best preserved kitchens to have been from the excavation from Pompeii that were in use during the eruption of Vesuvius in A.D. 79.

“…the hearth, which consists of a raised platform of masonry faced on top with tiles, sometimes edged with a curb, and with a coating of opus singiunum  (paint?) along the front. Arched openings in the front of the platform nearer the floor-level lead to fuel bins that were roughly constructed of rubble and tile.  Arrangements for providing water for cooking and washing-up are also sometimes found, as are the supports for the stone or wooden tables used for the preparation of food.” (Flower, pg. 29)

This description leads one to think that the more wealthy homes had better cooking accommodations i.e. raised platforms, wash areas and stone tables while the poor kitchens did without these amenities and used buckets for washing and cheap wood tables. (Flower, pp. 32, 33)

(http://www.the-romans.co.uk/food.htm)

Here is a Roman kitchen with the original counters and murals.  This kitchen is in the Teton Village of Italy and still in use.  The counters are marble with the original brick walls, cobble stone floors and wood storage areas.  This looks huge!  And definitely makes me envious of the cooks who worked in such a lovely kitchen.

There were several methods for cooking in a Roman house.  The stove one part of a roman kitchen called a focus, square structure usually between 1.10 cm and 1.30 cm high and 1.20 m deep.  Some stoves were smaller or larger but this seemed to be the average sized compiled from the intact stoves of Pompeii. (Faas, pp. 131)  Faas and Flowers discuss that the stove had various ways to cook, either with high flames for searing or roasting of animals.  If the animal was small enough then whole such as rabbit, kid or piglet but if the focus was large enough goat, pig, deer might be added to the list of whole animal.

Another type of cooking structure found in the rubble of Pompeii, per, seemed to be smaller in then the focus. These were made of rubble and tiles in the form of beehives, low to the ground.   There was an opening in the front for fuel with a drought for air.  These ovens could use both wood or charcoal depending on the dish(es) brought for preparation.  In the excavation of Pompeii, small rectangular ovens were discovered standing on the hearth of a kitchen in the House of Dioscuri.  One theory is that these small nonstandard ovens were used for pastries as a pastry mould was found near.  The pastry dishes were not described, unfortunately.

The oven, not to be confused with a stove, called a furnus or a fronax.  This was a square or dome-shaped hollow made from brick stone.  The floor of the oven was laid with granite.  The exception to this rule were those oven floors that were lined with lava.  (Faas, pp. 132.)

Another method was to cook directly over a fire on spits called veru (Faas, pp. 131) or in coals on fire pits or “ovens”, this is talked about by Liversidge, and to slightly less extent Grant.  They both speak, sometimes in great detail, on how much of the Roman cooking was done on iron tripods and gridirons (referred to by Apicius as craticula) over burning charcoal on the raised hearths.

Spits were used for larger animals i.e. boar which were roasted over fire.   Some recipes are specific on how dishes are to be cooked with the comments of “Brown it’s fat on a glowing hot brazier” (cooking dish suspended over coals) while another dish is “…heated in a brass vessel over a fire of dry sticks”. (Flower, pg. 31) Even though the Romans mainly used iron tripods, some dishes were to be placed directly into the ashes or coals.

Smoke free charcoal seems to have been the preferred heating method (Faas, pp. 130) though wood was used not just for heating but also for flavoring as some dishes are referred to as being smoked.

In today’s kitchen a mortar and pestle is used more decoratively then for actual practicality.  In Roman times, according to Faas, the mortar held a spot of extreme importance.  Spices, herbs, meat and emulsifying were all accomplished in this one kitchen utensil.  The theory fis that spices were used first (as they were dry) then working through progressively wetter ingredients.  The implication being that there was only one pestle per kitchen in use.

I am not sure I completely agree with this idea.  I can see a Roman house hold having a smaller mortar used for spices and emulsifying and a larger pestle used for vegetables and meat, but I cannot see that only one pestle per household could accomplish all this for one meal.  The logistics of both size and quantity of ingredients used seem to imply that more than one, not just one large or even medium sized pestle, would be needed.

I have not seen any mention of drawers being used or even available in the kitchen during this time, while shelves and hooks seem to be the most commonly mentioned methods of storing.  A well-stocked kitchen could include, the ubiquitous knife or knives and “…choppers, meat forks, soup spoons, sieves, graters, spits, tongs, cheese-slicers, nutcrackers, measuring jugs, pate moulds…” (Faas, 132).  The pots and pans were just as numerous as the slicing and dicing accoutrements.  There were stewing pots, pultarius, simmering pots, caccaubs, shallow pans, padella, oval dishes, patina, and square dishes called angulis.  (Faas, pp. 133, 134)  The pans and pots could be made from either pottery or metal (Flower, pp. 32, 33) depending on the economic status of the individual house hold as seen in excavations.  A well-stocked Roman kitchen could rival that of any gourmet kitchen in modern times.

Period Roman Cooking vs. Modern Roman Cooking:

For true Roman cooking I would need stove made from cement or clay and an oven lined with granite. Various pots, pans, and utensils made from wood, clay, or metal.  I would use either smokeless charcoal or wood.  If my house were truly well to do I would have kitchen slaves to do the chopping and grinding for a meal preparation as well as serving once all the food had been prepared.  If I were really well to do, I would have a cook to do all my cooking for me.

Unfortunately, modern times mean a slightly more modern approach.  My oven is gas lit, needing neither wood nor charcoal.  My spoons are made of wood (spoons and serving utensils) while my pots are made of clay.  These pots are lead free and not done in the period style unfortunately.  They are readily available but not on the same level as those in period.  Clay pots and utensils seem, from various archeological digs, to be as prevalent as the modern paper plate or plastic spoons.  My pans are made of metal, just not copper lined with tin.

I do own a mortar and pestle for grinding spices though I do not grind nearly as many spices as a Roman household would.  I do buy my some spices pre-ground.  I am sure that there were merchants who had these pre-ground spices on hand for pre mixed seasonings, though bulk spices would be better for a fresher stronger taste.  This is just my observation on spice tasting and the variety of cooking done at home. Not all of my vegetables come from my garden nor do I have a hive for honey.  That I can even grow even a few vegetables to cook with is a modern luxury instead of a necessity.  My wheat for bread is ground for me and is usually very pure wheat flour instead of having some traces of other flours, as a wheat mill was not cleaned between grinds in period.

I do not own chickens for eggs or meat on the table.  Cows are right out due to city ordinances.  I have hopes to own a few chickens at some point or even rabbits but for now I have to rely on knowing those who raise rabbits for meat then sell to me and are willing to raise chickens ducks purchased by me to split at slaughter time.

Modern times have made meat farms economically feasible while in period farms and animal husbandry were very dependent on weather conditions for growth and survivability.  This makes meat inexpensive and choice easily available instead of the poorest subsisting on a crust of bread, the less poor on vegetables and the tongue of a sheep or cow, possibly just cocks combs for protein. The wealthier could afford sheep forelegs or even tripe, perhaps even the taste of the fatty brisket meat.  The very wealthiest could afford the prime cuts along with delicacies of humming bird tongue and peacock.  The wealthier a Roman was, the better stocked with both utensils and ingredients their kitchen was.  Modern times have given even the poorest person, at least in first world countries, access to cheap meat, breads and vegetables not only from their country of origin but from around the world.

 Dinning Styles:

Faas (pp. 70-72) lists five different styles of dining.  These styles are suggested from both frescos and surviving letters or notations in manuscripts.

The first style is that of a buffet, brought in by servants/slaves while each guest helped themselves to a dish or dishes from artfully arranged works of edible art.  Another style of dining is in which each guest is brought a plate with portions already cut and arranged.  We see this today in a restaurant.

The following letter highlights the complaint against this style thought.

“…Hagias said: “We invite one another out for dinner, it seems to me, not so much for the sake of eating and drinking, but in order to eat and drink together.  Such rationing is unsociable…’ (Plut. 642/Faas 71)

The next style of dinning would be the roast.  The roast was brought in whole and carved with the guests helping themselves.  Though my own thoughts are that this would be more of a center piece, for any of the listed “Dinning Styles” then it’s own as each person would still either help themselves or have a slave bringing them choice tidbits.

The fourth style of dining is said to be seen on frescos In which each dinner is given their own table while reclining.  Each table would look the same as the others. Each table had a slave accompanying for refilling of plate or bowl.

(www.the-romans.co.uk/food.htm)

The Athenian way of dining, the fifth style, is thought to be a little of all four above. Each person having their own set of delicacies, not a buffet but not quantified by one plate, while a central themed roast or spectacular dish displayed and carved for a dinner’s delight.  (Faas, pp.70)

From this research every region had their own style of eating.  Not always a happy situation but one in which the host could sometimes be swayed for a more appealing style.

Utensils:

The utensils excavated range the gamete of common pottery to iron or bronze with some being made of more precious metals.  This is true of all cooking utensils and most of the spoons, knives etc.  One can imagine that wooden spoons were also used but probably did not survive being preserved as did the metal and pottery items.  The handles were made of bronze, wood or bone. (Flower, pp. 32)

Apicius in one comment to a cook tells them to take a clean pan or pot which is presumed to be pottery even though the word patella (bronze pan or pot) is used.  This is assumed due to the readily available and inexpensiveness of pottery pot or pan.  At this point in history a bronze pots would be cost prohibitive to replace regularly while a pottery pan is very inexpensive.  Cleaning of the different utensils is described as sea or dessert sand for bronze while pottery would need soap.  Once the course pottery dishes were so caked with foods as to be unusable a new pan or pot could be gotten relatively quickly for very little.  Bronze pots from several excavation sites have been found with bronze patches and show hard use. (Flower, pp. 17, 27, 29, 32 ,33)

The fretale or sartago refer to a frying pan type of utensil that is identified with certainty, while all other utensils, not being labeled are not so easily identifiable per Liversidge’s commentary.  Educated guesses can be made to the names of different types of vessels with the discoveries made from the Pompeii excavations as well as the Roman legionary fortress at Newstead.  (Flower, pp. 32)

An interesting notation is that cauldrons or cook pots were passed to others.  From one excavation site of a Roman military camp one cauldron has inscriptions carved on the side.  These inscriptions are the name of the first owner “the first century of Attilius Severus” then the cauldron was passed on to the century of Aprilis. (Flower, pg. 33)  No reason is stated or guessed at the reason for the change in ownership.  In a regular household there is no mention if these pots and pans were considered part of a dowry or if the eldest son inherited.  There is an assumption that bronze pots and pans would be passed down to family members though.

There was a style of utensils and dishes thought to be in the Athenian style of eating due to their size and utilization.  Silver trays, tripods with plates, very small bowls and egg cups.  A quote from one dinner’s letter (Ath, 132) suggest that these items were for individual eating, on serving trays with their own tables, then either reclining and being served or the style of a buffed.

“…The cook puts down a try with five little plates on it.  One holds some garlic, the next two sea urchins.  Yet another contains a sweet cake, or tell little shellfish, and finally a piece of sturgeon…  (Faas, pp72)

This dinner’s commentary actually is against being served on small plates as it seemed to do no more than smear his lips not fill his belly.  Possibly even the lack of camaraderie with each their own table.

Food:

The list of foods available to the Romans is extensive, with both cultivation and the vast trading routes available.  Very little was not attainable, albeit sometimes costly, in the Roman market places.  It is noted that citrus was not available, other than lemons and citrons, as oranges were not introduced until the tenth century by the Arabs, possibly about the same time as eggplant.  (Giacosa, pp. 12)      Citrons were prized for their skins for the extreme smell of citrus but not for their very dry fruit. (en.wikipedia.org/wiki/Citron).

Examples of some items imported were peaches were imported from Persia, malum persicum, apricots, malum aremniacum or praecox or praecoquium, from Armenia.  Dates were imported from Ethiopia.  Home grown items included figs, grapes, watermelon, muskmelon, walnuts, hazelnuts, almonds and pine nuts. (Giacosa, pg. 14).

Vegetables were enjoyed, with a profusion of choices available, both fresh and preserved.  (Grant, pp. 21)  Meat, though readily available, as were fish of all varieties, these were expensive items.

“The emperor Diocletian published his Decree on Maximum Prices in an attempt to stop the rampant inflation that was ruining the economy…have the merit of showing the comparative prices of various foodstuffs.  Twelve denarii would buy a pound of pork, venison or best quality freshwater fish.” (Grant, pg. 20).

The common Romans seemed to have a very bread heavy diet with fruit and vegetables on the side with cheese and eggs for protein.  These breads included white and black bread (based on the type of flour used).  There was also leavened bread and flat breads (noted used by sailors but not common fare to any other population stratus of Roman households).  Flavored breads incorporated different seeds such as poppy, anise, fennel, celery and caraway seeds. (Giacosa, pg. 16) Those with expansive purses could indulge in the wider variety of culinary experiences.

There was a book written on vegetarianism by Plutarch, called On the Eating of Meat.  Plutarch referenced many other references that did not include meat in the recipes.  It is unknown if these books were for just the common man or for aristocrats as well. (Grant, pg 20)

Pasta, tomatoes, butter and corn were not used or available till much later.  Butter, while known, was not used extensively though cheese was very popular and common with goat and sheep milk cheeses being the main types found in the market place.  (Giacosa, pg. 13).  Some cow cheese probably found their way into the market place but would have been seen as a novelty item not a staple.

An interesting note on garum, a fish sauce used by the Romans, which is mentioned in every translation of Roman cookbook (Grant, Flower, Apicus, Giacosa, Faas); the recipes and theories about the different ways to make this liquid seasoning are varied while the use was much like ketchup is today.  Used sparingly garum does not over power merely adding a hint of something exotic and a slightly salty note to a dish.  The best bet, unless one wanted to spend 2-3 months in the hot summer sun turning urns with fish bones and fish guts with other spices, is to use a store bought fish sauce found in oriental markets.          

Food Exceptions and substitutions:

Grant gives the quote:

“Roman cooks were used to substituting ingredients, as Apicius’ illustrations show: ‘To which you should add the reduced juice of quinces, further reduced to the consistency of honey by exposure to a blazing sun.  If you do not have reduced quince juice, you should use the reduced juice of dried figs, which the Roman’s call “colour”.’ Anthimus was also familiar with the problem of availability: ‘Although cucumbers at present cannot be procured here, when they are available the seeds that are inside them may be eaten.’” (pg. 27)

In cooking Roman recipes’ substitution is not only expected but in some cases encouraged to use different ingredients, after noting down the original translations, for the most part in SCA redactions.  Cooks may need to use variations, due to either the lack of availability or because a better period substitute could be used i.e. goat cheese as opposed to cheddar cheese.

The Romans were exceptional cooks in the art of preparing dishes that disguise the original ingredients i.e. faux anchovy pie where no anchovies are present.  One comment by Platus’ Pseudolus (I, 810 ff.) was:

“I don’t season a dinner the way other cooks do, who serve you up whole pickled meadows in their patinae – men who make cows their messmates, who thrust herbs at you, then proceed to season these herbs with other herbs…when they season their dinners they don’t use condiments for seasoning, but screech-owls, which eat out the intestines of the guests alive.”  (Flower, pg. 29)

While Platus was not so into disguising what his food was about, it seems that the main cooking in Roman for the more elegant tables was bent on disguising flavors with more flavor of unusual herbs.

 

 

 

Peacock Pie:

“Grind chopped meat with the center of fine white bread that has been soaked in wine.  Grind together pepper, garum and pitted myrtle berries if desired.  Form small patties, putting in pine nuts and pepper.  Wrap in omentum and cook slowly in caroenum.”  (Giacosa, pp. 90)

The ground meat patties of peacock have first place, if they are fried so that they remain tender… (Apicius, 54/Giacosa, pp. 90).

On a side note, the peacock was so expensive (roughly 50 denarii a bird) that some peacocks were stripped of their skin then cooked (roasted) in aromatic resinous substances until the meat was effectively mummified. Afterwards it was redressed and reserved at another banquet later that week or month without fear of rotting. (Toussaint-Samat, pp. 38)

This recipe, for ground patties, was probably used for peahens past their reproductive cycle, and at 50 denarii per bird, this would still be a very expensive and luxuriant dish to serve to nobility and emperors.

Romans were also very fond of pork.  Going so far as to breed a special type of pig just for the best dining experience possible. The Roman Empire had two types of pigs; the normal mast fed opportunistic type of pig that was considered tasty with long legs and a narrow body

 

http://www.sophialambert.com/PORK-HAM-AND-BACON.htm

and a second heavier meatier fatter pig that was white with short legs and round body with heavily marbled meat.

 

https://en.wikipedia.org/wiki/Suovetaurilia

In the second relief, note the rounded shoulders and heavy jowls of the pig in the lower right portion.  This pig was the product of selective breeding and happy feeding.  No opportunistic boars need apply for the stud job on this farm!

There were a few in Rome who commented on the desirable qualities for pig and how to feed them.

Columella advised “Not to rely on acorn foraging alone but to make use of legumes for fattening as well.  He also advised breeding for a new type of pig more suitable for rapid weight gain than for ranging in the woods. “Pigs should be sought whose bodies are exceedingly wide, but squarish rather than long or round, with protruding belly and large rump rather than tall legs or hooves, a broad glandulous neck, and a short upturned snout.” (Carlton)

However when the Roman Empire fell, this pig type was lost as farms were thrown into chaos.  The mast fed pigs from feral stock could outrun the hungry wolf or human while the shorter fatter pig, not so much.  Remember it’s not that a pig has to be the fastest just faster than the slowest…and the slowest were always eaten.

Then there is the issue of the Roman chicken.  Lots to discuss but we’re only going to cover a couple of basic feathered facts.  Columella next discusses the breeding habits of chickens as well as cross breeding types for the best in both eating and temperament. The breeds Tanagrian, Rhodic, Chalkidic and Median (Melian) should only be used for cockfighting while the native Roman chickens either by themselves or hens crossed with Greek cocks.   These breeds do not show up in modern times; however the breed names for these period chickens seem to be based on the origin city or region and not upon any specific type or defining characteristic.  And example would be Tanagrian, which was a Greek district between Thebes and Chalcis. (UChicago)

Ingredients:

Pie:

1 peacock      1lb ground pork  1 cup ground bread crumbs        1 tsp ground pepper

½ red wine (pinot)     1 tsb fish sauce        ½ cup pine nuts          ½ lb bacon strips

Crust:

Redaction:

Originally when I started making this dish, my thought was to make a subtlety using the main meat filling (using ground pork instead of duck or peacock) and a peacock as the main meat covering under a butter crust.

I can hear you now…that’s not the period recipe!!  You’re right.  To a point.  Remember this quote earlier…

“Roman cooks were used to substituting ingredients, as Apicius’ illustrations show: ‘To which you should add the reduced juice of quinces, further reduced to the consistency of honey by exposure to a blazing sun.  If you do not have reduced quince juice, you should use the reduced juice of dried figs, which the Roman’s call “colour”.’ Anthimus was also familiar with the problem of availability: ‘Although cucumbers at present cannot be procured here, when they are available the seeds that are inside them may be eaten.’” (pg. 27)

Yes…I made sure to include this about Roman’s and their love for changing things up.  I’m changing things up.

First you start with a peacock.

This is a peahen.  A female pea.  I was out of cock.

The next step is to start de-feathering the bird.

Now here is where things get interesting.  In my first inception of this dish, the peahen was deboned.

The peahen meat and skin is put over the pork mixture.

Pork mixture?  Oh, right, forgot to add a step.  Take all the other ingredients other than the peahen…

Make a tasty mess.

Cover this with bacon.

Drape the ground pork mixture with peahen and wrap with in bacon.

 

So as you can see…I don’t really have a subtlety, I have a football.  This form really wasn’t acceptable.  In fact this is driving me up the wall.  Think Redneck Girlfriend saying “Oh HELL no!” when she finds out the boyfriend is buying the cheap beer and spending the night with his boys.  That is the level of unacceptable this is.  Just…no!

So that leaves me with peahen wrapped around tasty pork goodness.  So I made a pie.  A tasty tasty butter crust wrapped pie.

However that is not the pie being served today.  Why not?! You ask.  That is a very good question!  And the answer is…I ran out of peahen and no cocks were available.  So I had to switch to the other white meat. Chicken.

So all the steps are the same, except using a debone chicken instead.  Chicken is easier to acquire unless you have a peahen supplier.  And remember, Romans used other food to mimic the dish they were claiming to serve!  Its period to substitute and that is what we are doing today.

Here you’ll note the use of dates along the rim of the pie.  My pork wrapped chicken over pork pie tastiness pulled away from the butter crust forming this unseemly empty space.  To hide that slight cooking issue, I used dates to stuff the crust keeping the viewing pleasure.

 

References

http://www.ancientworldalive.com/#!Ancient-meals-and-eating-habits-Part-2-Romans/c16ee/555085d40cf248741723ecb3

http://encyclopedia.farlex.com/Brittany

http://www.botanical.com/botanical/mgmh/f/figcom12.html

http://perseus.uchicago.edu/perseus-cgi/citequery3.pl?dbname=GreekTexts&query=Str.%209.2.13&getid=1

www.the-romans.co.uk/food.htm

http://thecoolchickenreturns.blogspot.com/2006/05/chickens-in-ancient-rome.html

en.wikipedia.org/wiki/Citron

http://en.wikipedia.org/wiki/Asafoetida

http://www.treesofjoy.com/fig-varieties-collection

Apicius, (1977). Cookery and Dining in Imperial Rome; Edited and Translated by Joseph Dommers Veling. Dover publication.

Apicus.  (1958). The Roman Cookery Book. Translated by B. Flower and E. Rosenbaum. Harrap London

Faas, P., (1994). Around the Roman Table. University of Chicago Press.

Giacosa, I., (1992). A Taste of Ancient Rome; by Ilaria Gozzini Giacosa, Translated by Anna Herklotz. University of Chicago Press.

Grant., M. (1999). Roman Cookery, Bristish Library Cataloguing-in-Publication Data.

The Opera of Bartolomeo Scappi (1570).  Translation by Scully. T., (2008). The Lorenzo Da Ponte Italian Library.

Toussaint-Samat, M., (1992). History of Food. Barnes & Nobles

 

 

March 27, 2017 | No comments

Peacock Subtlety: Part 2

Peacock Dora and more 054

The first time I wrote about peacock on the table of kings and the very well-to-do, the cooking was completely theoretical, with stand-in stunt ducks and a preserved skin.  http://roxalanasredactions.com/?s=peacock

This portion covers the messy, gory cooking parts of actually turning a freshly killed peacock into a dish once served to kings.

Part 1: The Bird

Peacock Dora and more 030

This is the freshly killed peacock (not by me).  Short story, I went to a farmer’s house to pick up a couple of wild peahens, with fertilized eggs and baby chicks dancing through my head.  When we got to the Middle of Nowhere, Texas my daughter and I were greeted with the sounds of gunfire — a bit disconcerting.  We took a look around, staying on the polite side of fences, and saw the peahens and goose we were originally after.  While we were petting said friendly goose and his love interest, contemplating which recipe he would best be served in, up comes the Farmer Lady with a gorgeous and dead Indian Blue Peacock. She announced, “Here’s your cock!” I couldn’t do much more than say thank you and pay the lady for her magnificent cock and the two hens.  Sorry, the goose wasn’t going to fit in the car once I had the peacock with his tail in my car.  It’s not that big a car!

I did ask about how she could sell her birds so cheaply.  Seems the peacocks were let loose in the wild 20 some years ago and have flourished in the tropics of Texas — so much so that the resulting multiple flocks have become a nuisance for the ranchers and not just the beautiful lawn and table ornaments they were originally destined to be.  My win, their loss.

            An apropos poem for this bird handed to me, the cook.

“Peacock: you admire him, often he spreads his jewel-encrusted tail.  How can you, unfeeling man, hand this creature over to the cook?” (Mart.XIII-1XX/Faas, pp. 295)

During the time of Henry VIII, this bird would have incredibly expensive due to their breeding habits.  Based on my searches, a live bird’s pricing from a reputable breeder is usually on the order of $600.  The scarcity of peacocks caused the pricing to be such that only nobility could afford such a rare beauty for their yard or table.  So what I paid for this magnificent bird was a fluke, due to the nuisance the random flocks had become, rather than the norm.  This bird: much more affordable.

The peacock, unlike the chicken, was not a common bird.  (thecoolchickenreturns.com) Unlike the chicken, a peahen will only lay 3-9 eggs a year while a single chicken might lay up to 200 eggs each year.  (Damerow).  This cuts down on the number of pea chicks born and raised to maturity in any given clutch or year.  Low numbers with great beauty, much like gold or rubies, raises the price of the peacock out of the common man’s reach.

A quick bit of history on the eating of peacock.  Peacocks were valued throughout history, not only for their feathers but for their flesh.  Poems and songs were written about these gorgeous feathered fowls and their likeness graced plates, vases and even thrones.  They represented different ecclesiastic values to different religions.  This bird, with its jeweled-eyed tail, was coveted for both the look and symbolism represented in its display.  From a throne in India to the tables of rich Romans to paintings and vases in Persian Empire; even to the table of English royalty, many used this favored bird in recipes and decoration.

“Such subtle creations could be comprised of just the edible, or as the more elaborate a set up became, a combination of paper mache and lumber to support a larger and even grander display.  These decorative subtleties were for powerful displays and less about eating, with the production being undertaken by carpenters, metals smiths and painters and very little with chefs.” (Martins)

This is a research paper on cooking a beautiful period dish served to royalty . It covers the trials and tribulations of making this display happen in today’s modern world, which lacks an abundance of peacocks, as well as the “workarounds” needed to display the dish in a mostly period manner.

Part 2: Skinning

           With the bird in hand and period recipes dancing through my head, the first hurdle for this kingly presentation presented itself.

The Romans, French and English all agreed that the peacock’s skin and feathers should be saved to redress the dish(s).

Roman:

Cure the skin with coarse sea salt, so that it dries out a little, and wash it off just before you dress the roast bird in it…” (Faas, pp. 297).

French:

And when it is cooked, it must be re-clothed in its skin and let the neck be nice and straight or flat; and let it be eaten with yellow pepper. (Goodman, M-30)

English:

“Take and flay off the skin with feathers and tail, leaving the neck and crest still upon the bird, and preserving the glory of his crest from injury when roasting by wrapping it in a linen bandage.  Then take the skin with all the feathers upon it and spread it out on the table and sprinkle thereon ground cinnamon… Then take and sew him again into his skin and all his feathers, and remove the bandage from his crest.  Brush the feathers carefully and dust upon them and his comb gilding to enhance his beauty.  After a while, set him upon a golden platter, garnish with rosemary and other green leaves, and serve him forthwith as if he were alive and with great ceremony.” (Craig, pp. 157)

Yeah, the skinning part wasn’t quite as easy as these books made the undressing of the bird sound.   So here are my step by step pictures and running dialogue.  Let the messiness begin!

Peacock Dora and more 035            This is the messy part.  There is no other way to say this than ewww!  If you’re squeamish stop right here because the pictures just increase in gore factor.  Now, I’ve skinned and plucked more than a few feathers.  I raise period birds for eggs and meat.  Getting a bird ready for the oven is nothing new; however, trying to preserve the skin of a peacock with a 5 foot tail while your child and cat are trying to “help” is…exceptional.  I’m pretty sure period cooks didn’t have this issue.  The cats would know better than to be under foot.

So the first thing I learned is that this bird had some opalescent scales on the skin.

Peacock Dora and more 034A better picture when some of the scales flaked off while I was attempting to cut the skin.

Peacock Dora and more 033            I don’t know if this is normal, never having cut into the skin of a peacock before; however, I can say that these scaly flakes were gorgeous but made the first few attempts to cut into the skin a real bitch.

Once the initial cut was made, progress was made on separating the belly and leg skin from the bird.

Peacock Dora and more 036The feather portion of the skin ended at the peacock’s knees where the normal heavy-duty scaly legs started.

Those legs were almost as long as my forearm and had wicked claws.  I can see how these things are able to fend off both raccoons and foxes.  The peacock was only a couple pounds lighter than the period Spanish Black turkey I raised to make a Kraken subtlety.  That turkey managed to survive the Great Flock Killing of 2015 (by a couple of damn raccoons).  So yes, these birds can and do survive quite well with their natural defenses.

Back to the skin.  The skin had to be cut around the knee joint in a circle then sliced open.  Trust me, there was no way I was going to be able to pull the leg through and I didn’t want those clawed feet anywhere in the final cooked dish.  I disjointed the bird at the knees to make removing the lower legs easier.

The wings I left on the bird skin.  I attempted to take the skin off the wings but realized it was too fragile there for the amount of force needed to pull the many tendons/ligaments away from small bones.  Here I disjointed the wings and cut them at the inner breast joint.

Peacock Dora and more 037            As you can see the blood is pooling close to the neck where it was shot.  I had to drain the blood off a few times as I was making the cuts.  This is where I say either wear clothes you don’t mind getting bloody or skin in the buff so you can jump in the shower when it’s done.

Also note this bird is not covered in what we would consider a tasty amount of fat, as seen on modern day factory farm chickens.  This bird was wild.  It has a healthy amount of flesh and just enough fat along the skin and tail, yet the bird would never be considered as factory raised.

The skin from the back was actually the hardest to peel off.  I had to use my hands and a very small sharp knife to get into this area without slicing up the skin.   This portion of the deskinning was the hardest.  This skin felt thinner, though it really wasn’t, and the fat levels almost non-existent as I separated the skin and flesh.

A portion of the neck and head were left on.  All the period recipes say to leave the head on with feathers.  I couldn’t keep a pig’s ears from burning when I did a period pig head (http://roxalanasredactions.com/stuffed-boars-head/), so I was not about to risk the head of a peacock to the oven and my “linen bandaging” skills (which are nonexistent).  I had to do a quick improvisation.  2 inches under the head remained intact in the skin while I took out the rest of the neck.  The meat portion of the neck in the cooking had skewers to keep it upright for when the remaining neck and head were placed on top of the cooked portion.

Part 3: Cooking

             Most cooks have had the chance to work with their meat of choice before starting a major project.  Peacocks are as rare as hen’s teeth here so I had to adjust on the fly. I started with the period recipes for the Romans:

Roman:

Sometimes the peacock…were roasted. (Faas, pp. 297).

Another good Roman recipe; unfortunately this one does not include the redressing:

Grind chopped meat with the center of fine white bread that has been soaked in wine.  Grind together pepper, garum and pitted myrtle berries if desired.  Form small patties, putting in pine nuts and pepper.  Wrap in omentum and cook slowly in caroenum.”  (Giacosa, pp. 90)

French:

Peacock/Swan “Kill it like goose, leave the head and tail, lard or bard it, roast it golden, and it with fine salt.  It lasts at least a month after it is cooked.  If it becomes mouldy on top, remove the mould and you will find it white, good and solid underneath.” (Taillevent, pp. 23)

Or

Re-clothed Swan (substituting Peacock) “…in its skin with all the feathers.  Take it and split it between the shoulders, and cut it along the stomach; then take off the skin from the neck cut at the shoulders, holding the body by the feet; then put it on the spit, and skewer it and gild it.  And when it is cooked, it must be re-clothed in its skin and let the neck be nice and straight or flat; and let it be eaten with yellow pepper. (Goodman, M-30)

Italian:

If you want to roast a peacock on a spit, get an old one between October and February.  After it has been killed let it hang for eight days without plucking it and without drawing it; then pluck it dry…When it is plucked draw it…..put one end of a hot iron bar into the carcass through the hole by which it was eviscerated being careful not to touch the flesh: that is done to remove its moistness and bad smell.  To stuff it use the mixture outlined in Recipe 115, or else sprinkle it with salt, fennel flour, pepper, cloves and cinnamon; into the carcass put panicles of dry fennel and pieces of pork fat that is not rancid, studded with whole cloves or whole pieces of fine saveloy.  Blanch it in water or sear it on the coals.  Stud the breast with whole cloves. (The breast can also be larded or wrapped in slice of pork fat as is done with the pheasant in Recipe 135).  Roast it over a low fire, preserving the neck with its feathers as is done with the pheasant.  Serve it hot or cold as you wish, with various sauces … (Scappi, pp. 207)

The Opera of Bartolomeo Scappi, recipe #139 suggested for pheasant or peacock.

If you want to roast the small ones on a spit, as soon as they are caught pluck them dry and draw them; leave their head and feet on.  Stuff them with a little beaten pork fat, fresh fennel, beaten common herbs, raw egg yolks and common spices – which is done to keep them from drying out.  Sew up the hole and arrange their wings and thighs so they are snug.  Sear them on coals.  Wrap them, sprinkled with salt and cloves, in a calf or wether caul, or else in slices of pork fat with paper around them…When they are done serve them hot. (Scappi, pp. 206)

English:

Take a peacock, break his neck, and cut his throat, and flay him.  The skin and the feathers together, and the head still to the skin of the neck, and keep the skin and the feathers whole together; draw him as a hen, and keep the bone to the neck whole, and roast him, and set the bone of the neck above the broach (spit), as he was wont to sit alive; and above the legs to the body, as he was wont to sit alive; and when he is roasted enough take him off, and let him cool; and then wind the skin with the feathers and tail about the body, and serve him forth as he were alive; or else pluck him clean and roast him, and serve him as though do a hen. (Renfrow, pp. 572).

“Take and flay off the skin with feathers and tail, leaving the neck and crest still upon the bird, and preserving the glory of his crest from injury when roasting by wrapping it in a linen bandage.  Then take the skin with all the feathers upon it and spread it out on the table and sprinkle thereon ground cinnamon.  Now roast the peacocke and endore him with the yolkes of many eggs, and when he is roasted remove him from the fire and let him cool for a while.  Then take and sew him again into his skin and all his feathers, and remove the bandage from his crest.  Brush the feathers carefully and dust upon them and his comb gilding to enhance his beauty.  After a while, set him upon a golden platter, garnish with rosemary and other green leaves, and serve him forthwith as if he were alive and with great ceremony.” (Craig, pp. 157)

“A peacock may also have the skin and feathers removed as described above when it may be stuffed with spices and sweet herbs, and finely chopped savory meats, and roasted as described in the foregoing recipe.  Then replace the skin and feathers when it should be “served…”…with the tail of the peacock was covered with leaf of gold, and a piece of cotton dipped in spirits was put in its beak.  This was set fire to as the bird was brought in Royal procession to the table with musical honours.”  (Craig, pp. 157-158)

That’s quite a few ways to cook a peacock; however, most of the recipes had a few common elements:  the peacock, larding and salt while roasting.  Clove is mentioned, as is roasting on a spit.  I went with ‘less is more’ for this ad hoc project.

The body, freed from the skin, had to be rinsed to remove various bits of feather and blood before I could start to dress it in bacon.  As you can see, there is a good amount of meat on the bird.  This peacock was only a few pounds shy of what a wild turkey would dress out as.

Peacock Dora and more 038So here was a quandary:  if I wanted to redress the bird it had to be butt side up, yet as a cook I wanted the breast side up.  Argh!  Either way, this bird had to be covered in bacon.

I dithered for about 3 minutes, trying to visualize redressing with the skin.  I went with the easier task and put the bird butt side up, wrapping it all in bacon.

Now when I said I had no preparation for this, I meant it.  I had 30 seconds warning I would be coming home with a peacock for cooking and no time to prep prior.  I was lucky to have a side of bacon on hand in the freezer to start the wrapping project.  That was the good news.  The bad news was that the bacon was thin and not anything like the thick cut bacon (2lbs would have been the amount needed) that I really would have preferred.  You live, you cook, you learn.

Peacock Dora and more 046           Butt side up and the breast still needs to be covered in bacon.  Note the toothpicks.  This is what was holding the bacon to the downward facing breast.  Pull those out when you have finished cooking.  Trust me.  I forgot this part and had to pull everything off before restarting to redress the bird.  The neck was being held “Upward” by long wooden skewers.  Metal skewers would have worked as well.  I grabbed what I had on hand while trying not to panic over the time the skinning took me to get this bird prepped for the oven.

On reviewing the recipes, I see that I missed the ‘sprinkle with cloves’ portion of the recipe.  Depending on the recipe, the bird would have been studded with whole cloves or sprinkled with salt and ground cloves, then wrapped in calf caul (organ fat) or larded with bacon.  I missed the clove portion.  I was a tad flustered.  Next time though!

This is how the bird looked coming out of the oven.

Peacock Dora and more 049           I made sure it was well covered in bacon as I wanted a juicy bird.  Once you go bacon you’ll never go back.  Bacon-wrapped makes the best, juiciest bird(s) I’ve ever tasted and I was really hoping this would be the case here.  I was trusting Scappi to know his shit on the period cooking.  (That’s Bartholomew Scappi, the period Italian cook to the popes.  Read the first research paper here (http://roxalanasredactions.com/?s=peacock)  with the recipes.)

4th Part: The Skin

Now we get down to the fastest but oddest part to this dish.  The skin.  Most people like eating crispy skin from their fowl.  This dish would rather show the skin and the feathers off than cook it without the feathers.  I can see this…and was able to implement this with a bit of kitchen magic.  In period when a swan or peacock was skinned salt or cinnamon was used to keep the skin from going bad.  (Craig)

Peacock Dora and more 044            Here is the unprepared skin.  It’s still red and gooey.  I had no idea how else to do this, though I suspect more time should have gone into cleaning out the blood and flesh, then wiping down with a damp cloth to clean up the leftover bits and blood.  This was a huge learning curve.  Going with the flow here.

Here I’ve coated the skin in sea salt as done in period. (Faas, Giacosa, Apicius, Taillevent, Goodman, Scappi). Salt deters bacteria in an exceptional way.  Cinnamon has some of the same properties but not in the same “dry everything out so it dies screaming in agony” way.  So, salt is what I used to keep the skin from going bad on me (no one wants salmonella!).  The skin was then left out until the peacock was done.

I pulled out thread and needle for when the time came to attach the skin back over the bird.

Peacock Dora and more 048            I wanted a fairly strong thread, so went with the quilting thread.  Nope, I did not have silk or linen thread on hand for this.  Again the “30 seconds choice of taking a peacock home” came into play and there was a lot of ad-libbing to be done.

It turned out I wouldn’t need these items — but more on that in the next section.

Part 5: Redressing and Serving Forth

So here we are at the final scene to this hastily-prepared dish. The peacock is placed butt-up on a nice hand thrown pottery plate.  The actual type of dish this would be served on is not mentioned; however, it would be safe to say that the higher on the table the dish went, the better quality and metal the plate for the peacock.   I did not have a silver or gold tray quite big enough to fit this magnificent bird so I used a hand-thrown pottery plate.

Peacock Dora and more 049

This is sooo looking like a snail at the moment.  (I may consider doing a chicken dressed as a snail for a subtlety at some point, but not today).  We’re about to fix this look.  Yank out all the toothpicks but keep the skewers in place.  You’ll need the skewers to keep the neck skin in in place and hold the head up.  Yanking out the toothpicks keeps the keeps the skin from being pierced.  Now in period, a subtlety could and would have metal or wooden pieces in and around to keep the illusion going.   Subtleties could consist of just the edible or, as the setup became more elaborate, a combination of papier-mâché and lumber to support a larger and even grander display.  These decorative subtleties were for powerful displays more than about eating, with the production being done by carpenters, metals smiths and painters and very little by chefs. (www.reference.com/browse/subtlety).

Peacock Dora and more 050            Here I purposely change how the re-dressing goes.  In period the skin would be put over the dish.  The bloody fleshy very salted raw skin over the cooked body.  That’s a great way to give someone food poisoning.  I think I’ll pass on that as I’m the one eating this bird tonight! As you can see I’ve covered the peacock in foil.  You could use parchment paper (a closer period alternative) however I had this on hand (Notice a theme here?).

Once the bird is wrapped for your protection, slip the skin over the body with the neck and head going over the cooked neck portion.

Peacock Dora and more 051         My shy peacock is gorgeous!  The skin did not have to be sewn as I thought it would.  The skinning opened the flesh enough that it draped like a perfectly fitted dress over the body.  The tail feathers are long enough that propping them against the wall works to display his regal tail.  However the tail portion of the cooked body will need to be covered by silk or a cloth as the skin won’t fit all the way over the butt while the neck and main body are covered.  In period, not just in my kitchen, they would have used a wire form to hold the tail in place, probably wrapped around the cooked peacock, hiding under the skin but with a wire “fan” to press against the tail and hold it up for a glorious display.  That’s how I would have done it if I were presenting this dish to a head table.

Once the peacock has been displayed, take it back to the kitchen and slice the meat onto a plate for serving.

Peacock Dora and more 064

The reasoning is that you don’t want to yank off a salty bloody skin over food that someone is going to have to eat.  No one really wants to see that side of the dish.  Remember this is FOOD MAGIC, a dish of awe and inspiration.  No need to let the populace (or the king) see how this surprise is really done.

Part 6: Conclusion

Monarchs put feasts to good use as ways to make a vivid point, like inducing guests to pledge allegiance to a planned crusade.  An example of this was when Philip the Fair, at the Feast of the Pheasant, showcased a giant Saracen entering the feasting hall leading an elephant (there is some question about the edibility of said pachyderm), with a knight (Oliver de La Marche) playing the role of the captive Eastern church. (Wheaton, pg. 8/Martins)  Another example of the royal use of subtleties involved Henry VIII.  George Cavendish wrote about a feast sponsored by the great Tudor king in such waxing enthusiasm for the feast “…I do both lack wit in my gross old head and cunning in my bowels to declare the wondrous and curious imaginations in the same invented and devised.” (Henisch, pp. 236/Martins).  The feasting was a display to move men and women into wondrous thoughts, glossing over a harsh reality of court life: a grand and compelling gesture.

A subtlety could be a simple item such as a redressed peacock on proud display or stuffed fowl riding roast piglets, or as elaborate as a full pastry castle with trees containing candied fruit, with mythical beasts glazed and stuffed, as well as musicians playing music from the limbs of the trees.  Allegorical scenes were not uncommon.  Some scenes could be “Castle of Love” or “Lady of the Unicorn”.  (Martins).  Taste wise.  I was terrified that this bird was going to be tough and nasty.  Wild caught game is allowed to “age” for a reason.  Aging a bird (including chickens) gives the flesh the opportunity to mellow and break down for a more tender and tasty bite.  The peacock had to be done as soon as I walked through the door.  There was no chance to age the meat (the skin wasn’t going to fit into my freezer at all with that gorgeous tail intact).  When I took the first bite I was pleasantly surprised.  There was a slight gamey taste but not overwhelming or nasty.  The meat was a bit chewy but not jerky tough.  Honestly, I expected rooster tough as this was a full grown male in his prime.  The meat was tasty and juicy, which I think can be attributed to the bacon wrapping.

I find this to be a dish best made and served on site if it were for an event.  The skin would be hard to keep from going bad unless frozen (not sure that would work) in a chest freezer as my upright was too small for this skin and tail feathers.  As for being able to replicate this on demand, I can’t.  Unless there are male peacocks on hand the day of an event AND the steward and cook are willing for me to kill, skin and gut a peacock in their kitchen while working around a 5 foot tail this isn’t going to happen at an event either.  This was a onetime shot or at the whim of the Farmer Lady when she shoot another peacock.  I learned a lot, but realize that the hardest part is knowing the limitations on what is possible in the future for a display.

There was a bit of ad-libbing on my part for this whole dish, with a steep learning curve on how to skin and redress.  Overall though, I’m pretty damn pleased with the recreated period presentation.  The skin came out magnificently and I had the main ingredients to keep the dish (mostly) true to the original.

 

References:

 

Craig, E., (1953). English Royal Cookbook. Andre Deutsch Limited, London.

 

Damerow, G., (2010). Raising Chickens. Storey Publishing.

 

Fass, P., (1994). Around the Roman Table. University of Chicago Press, Chicago. 1994.

 

Giacosa, I., (1994).  A taste of Ancient Rome. University of Chicago Press, Chicago.

 

Good man of Paris.(1395). Le Managier De Paris.

 

Renfrow, C., (1998). Take a

 

 

 

 

February 13, 2017 | No comments

Roman table to a King’s table: How it was done and the ways to recreate the look and taste.

By

Honorable Lady Sosha Lyon’s O’Rourke

 

IslamPeaC

 Peacock

A dish to grace the table of Kings

By

Honorable Lady Sosha Lyon’s O’Rourke

“Peacock: you admire him, often he spreads his jewel-encrusted tail.  How can you, unfeeling man, hand this creature over to the cook?” (Mart.XIII-1XX/Faas, pp. 295)

 

Peacocks were valued throughout history; not only for their feathers nor for their flesh.  Poems and songs were written about these gorgeous feather fowls and their likeness graced plates, vases and even thrones.  They represented different ecclesiastic values to different religions.  This one bird, with its jeweled eyed tail, was coveted for both the look and symbolism represented in the display of this majestic fowl.  From a throne in India to the table of rich Romans to the Persian Empire decorating paintings and vases; even to the table of English royalty, each used this favored bird in recipes and decoration.

“Such subtle creations could be comprised of just the edible, or as the more elaborate a set up became, a combination of paper mache and lumber to support a larger and even grander display.  These decorative subtleties were for powerful displays and less about eating, with the production being undertaken by carpenters, metals smiths and painters and very little with chefs.” (www.reference.com/browse/subtlety)

This is a research paper on cooking a beautiful period dish served to royalty. It covers the trials and tribulations needed to make this display happen in today’s modern world, which lacks an availability of peacocks, as well as the “work-arounds” needed to display the dish in a mostly period manner.

Display:

 800px-Vœu_du_faisan

(http://commons.wikimedia.org/wiki/File:V%C5%93u_du_faisan.jpg)

           Toussaint-Samat recounts how the noble peacock was served at the Banquet of the Pheasant held in 1453.  As per tradition of the time, when the peacock was served in all of its glory, the hero of the feast was to make a vow.  The hero for this particular feast was Duke Phillip the Good.  His vow was to challenge the Sultan to single combat.  The commentary went on to say that while the vow was made solemnly it was not take seriously. (pp. 84).

Another display was “[w]hen the peacock was all arrayed in his pride, royal trumpeters blowing on silver horns or other musicians making “Sweet Musick” [sic], led the way to the banqueting hall followed by the First Lady carrying the peacock and then by a bevy of maidens clad in white…The platter on which it rested could either be of gold or silver…” (Craig, pp. 158).

As mentioned, the peacock was forced back into as natural a form as possible during cooking.  Gilding of the feathers, feet and beak were done.  Some gilding was done in actual gold while others were in a flour paste colored with saffron, depending on the host’s monetary status. (Toussaint-Samat, pp. 84).   For displaying the dish I have run into a few unique issues, the first being the cost of the actual peacock.  While researching how to cook and serve peacocks, I came to the horrible realization that full grown peacocks are EXPENSIVE.  I cannot stress this reality enough.  One male peacock can be priced as low as $150 (if they are very young, i.e.8-9 months or younger and without plumage) or can run up to $600 for a full grown fowl with plumage.  Peahens can cost $150 for a young bird. These prices are for live birds.  If the meat were desired, skinned and dressed without feathers, the body runs $300 at regular price and $200 on sale.  This is without the skin and feathers.  In today’s market, purchasing an actual peacock becomes difficult.

My choice, if I decided on a live bird, would have been to pay for a young bird and raise it (barring any wildlife getting tasty thoughts of their own about my peacock), then skinning and dressing it for the table.  Assuming I did not damage the skin while skinning or ruin the meat by piercing the gall bladder (rendering the meat bitter and useless) while dressing out the bird, I would have had a viable solution.  Unfortunately, while I have helped slaughter chickens for the table quite a few years ago, skinning and dressing were left to my dad, amid comments about not wanting to let a kid ruin dinner or something similar.

This left me inadequately skilled for raising, skinning, and dressing out a very expensive peacock.  With that in mind, I have followed the Roman mindset that meat could be dressed as another meat and served forth as a “Faux Peacock”.  I wanted an uncommon bird, but something well within the affordable range that could be purchased without having to special order.  After weighing my options, I decided to use duck.  Duck is not a lean meat with the skin on.  However, the selling point, unlike a chicken, is that the duck is about the same amount of dark meat per body while commercial chickens are more breast heavy than any peacock could ever be.  Duck can be rendered less fatty by the removal of the skin and can still be considered an uncommon dinner dish by most standards today.  Duck was, for me, the logical substitute in my meat portion of the cooking.

Chicken was never an option, which left me with fewer choices than expected for modern dark meat.  Pigeon could have been an option; however, having no hunting license pigeon and quail (being much too small to start with) were not viable substitutes.  Pheasant could have been used.  There were two issues for using the actual cousin of the peacock.  Pheasants, for decent pricing, require a hunting license and a lease to hunt on.  I have neither the weapon nor the skill to shoot.  Pheasant is also not an easily attainable meat which makes pricing difficult.  Each option was weighed with pros and cons, and the most viable choice again was duck.  What I would pay for one pheasant, I could purchase four ducks.  Duck is an all dark meat.  Without its skin, the flesh can be suitably larded to imitate (not in flavor) the look of peacock dark meat.

 Dressing a Peacock:

 Dressing of a peacock usually comes after the cooking. The meat and cooking part was easily worked through, though the display was a bit of an issue, hence the dressing before the cooking.

See above for the cost of a live male peacock in full feathered display, making the idea of raising a peacock un doable at this time, meaning a skin would have to be purchased.  I was able to find a company that dealt exotic skins; however there was a catch to the peacock skin. The skin would only be available if and only if someone brought one in and then it was a three month waiting period while the skin was treated.  The price associated with obtaining a skin this way was almost unbelievable. I was able to negotiate the purchase of a skin after the seller asked what I would be using it for.  The caveat by the seller was that the skin was missing a head.  I didn’t have any other options or sellers at this point so the answer was a resounding “Yep!  I can work with a headless peacock skin.”  I did not mention my desperation at this point for any skin with feathers that could be painted to look like a peacock if I had to.

Period-wise I would have had a skin and body that would not need such subtlety in body forming or a wood carver who could shape a block of would in a simulation worthy of Henry the VIII’s table.

The skin arrived, headless as advertised and cured in such a way I would shudder dressing any bird meat in it.

just skin feathers up

 The skin was beautiful, but not useful for an edible concoction due to the preservation techniques on the underside.

 underside of skin

 

This abolished any idea of redressing a duck with the peacock skin and gilding the duck bill.  Nor would I be able to re-stuff the skin with small birds or savory meats.  (Toussaint-Samat). I thought of making a cloth body with a batting neck before realizing that sagging would take this proud bird skin and turn it into a saggy pillow of pretty feathers.  Nor did I trust my carving skills (I am totally deficient in this area) for making a peacock body and head out of wood.  I had to resort to artisans skilled in this area modernly.

With this new hurdle, I researched different ways in which a peacock could be displayed.  The best modern equivalent I could find was from a taxidermy form.  This took some work as not every taxidermy shop is considered equal no matter how much they talk about exotic birds in their bio line.  The form arrived in pieces minus the head.  Luckily for me the head arrived the next day.

peacock pieces

Peacocks do not like giving up their heads even in resin form!  This jigsaw of body, neck and eventually head had to be metal tabbed and glued together.  Insert neck B into resin body A and no up or down listed on the body on where pieces went.  Once the pieces were attached in the correct body part, glue was used to keep them from drooping or falling off.   I couldn’t have the peacock losing its head again!

The head was attached to the neck with metal and glue after drilling a small hole into the head.  The head was of a different and much harder material then the neck and could not have the metal bar section of the neck inserted as the neck’s lower tab was inserted into the body.  That would have made life way to easy!

The next step was to wipe the form clean of dust and apply the gilding.  Gold leaf would have been used or a flour paste colored with saffron depending on the serving nobilities’ financial means. (Toussaint-Samat, pp. 84)  My first attempt with gold leaf was a disaster.  Uneven, splotchy, and just ugly are the words I would use to describe this decorating application.  After removing my gold leaf disaster, I moved on to gold paint as I was obviously not the deft period artisan needed to apply the gilding.

 

 form together w head painted

 Once the head was attached and liberally applied with gilding, I outlined the eyes in kohl,

  peacock kohl

 then added faux glass “rubies” were glued into the eye sockets.

  peacock eyes

 Feathers were attached to the head for a crest.

 

 peacock crest

 This gives the overall presentation a richer, more finished look and I believe closer to a period cooked peacock.

Finally the time had come to sew the skin onto the form.  This presented a new problem.  The skin was not the full skin of a peacock, just the neck, back with wings and the tail.  I had not noticed this detail till I put the skin over the peacock form.

skin on form not fitting

This means the form, I had ready for the skin to be stitched onto, was too large and the skin to small.  This left me with several bad options.  The first would have been to not use the form and just lay the skin out as a side note.  I did not like this idea as it lacked grace and style. The second was to form a cloth covering to which the skin might be sewn onto then having the cloth covering sewn onto the form.  I attempted this, going so far as to actually making a body covering drape pattern.  The third idea, which is the one I went with, was to ribbon the skin and tie it to the body form.  This idea presented the best idea overall as the form can be arranged then have the skin draped with minimal damage to the skin and feathers while shifting from one angle to the next on display

            Once I realized I could not fit the skin over the peacock form, my plan was to sew ribbon on to the skin to form a tied collar.  Unfortunately the way the skin was cured, it has started to flake and tear along stress lines making sewing impossible.  I attached ribbon to the neck via glue.  Not period glue but glue none the less.

glue ribbon to skin

This affixed the ribbon while stabilizing the stress areas along the neck of the skin.

tipopits finished

Once the ribbons were attached I sewed on metal tippets with faux pearls.

front peacock w cloak

This is non-standard; however as this display, if the standard recipe had been achievable would have been served on the high table, the idea is to make the overall look as rich and elegant as possible.   The peacock is now painted, dressed and ready for displaying.

 Recipes:

 The edibility of the flesh of a peacock varied from cook to cook.  Scappi, cook for the Popes of Rome in the 1500s, is quoted on peacock taste as saying, “[t]heir flesh is black, but more tasty then all other fowl.” (pp. 206).  Augustine conducted experiments on the antiseptic quality of peacock flesh.  He found that the flesh shriveled but did not rot.  (Sparknotes/ bestiary).  Medieval bestiary states “the flesh of a peacock is so hard that it does not rot, and can hardly be cooked in fire or digested by the liver…” (bestiary)    Even with such unenthusiastic endorsements, this did not stop the consumption of this fantastic fowl.

Roman Recipes

“Some times the peacock…were roasted then had their plumage restored to them…to prepare a bird in this fashion, take off the feathers with the skin.  Cure the skin with coarse sea salt, so that it dries out a little, and wash it off just before you dress the roast bird in it…” (Faas, pp. 297).

On a side note, the peacock was so expensive (roughly 50 denarii a bird) that some peacocks were stripped of their skin then cooked (roasted) in aromatic resinous substances until the meat was effectively mummified. Afterwards it was redressed and reserved at another banquet later that week or month without fear of rotting. (Toussaint-Samat, pp. 38)

Another great recipe was…

“Grind chopped meat with the center of fine white bread that has been soaked in wine.  Grind together pepper, garum and pitted myrtle berries if desired.  Form small patties, putting in pine nuts and pepper.  Wrap in omentum and cook slowly in caroenum.”  (Giacosa, pp. 90)

The ground meat patties of peacock have first place, if they are fried so that they remain tender… (Apicius, 54/Giacosa, pp. 90).  This recipe, for ground patties, was probably used for peahens past their reproductive cycle, and at 50 denarii per bird, this would still be a very expensive and luxuriant dish to serve to nobility and emperors.

French Recipes

Peacock/Swan “Kill it like goose, leave the head and tail, lard or bard it, roast it golden, and it with fine salt.  It lasts at least a month after it is cooked.  If it becomes mouldy on top, remove the mould and you will find it white, good and solid underneath.” (Taillevent, pp. 23)

Reclothed Swan (substituting Peacock) “…in its skin with all the feathers.  Take it and split it between the shoulders, and cut it along the stomach; then take off the skin from the neck cut at the shoulders, holding the body by the feet; then put it on the spit, and skewer it and gild it.  And when it is cooked, it must be reclothed in its skin and let the neck be nice and straight or flat; and let it be eaten with yellow pepper. (Goodman, M-30)

Italian Recipes

“if you want to roast a peacock on a spit, get an old one between October and February.  After it has been killed let it hang for eight days without plucking it and without drawing it; then pluck it dry…When it is plucked draw it…..put one end of a hot iron bar into the carcass through the hole by which it was eviscerated being careful not to touch the flesh: that is done to remove its moistness and bad smell.  To stuff it use the mixture outlined in Recipe 115, or else sprinkle it with salt, fennel flour, pepper, cloves and cinnamon; into the carcass put panicles of dry fennel and pieces of pork fat that is not rancid, studded with whole cloves or whole pieces of fine saveloy.  Blanch it in water or sear it on the coals.  Stud the breast with whole cloves. (The breast can also be larded or wrapped in slice of pork fat as is done with the pheasant in Recipe 135).  Roast it over a low fire, preserving the neck with its feathers as is done with the pheasant.  Serve it hot or cold as you wish, with various sauces …(Scappi, pp. 207)

The Opera of Bartolomeo Scappi, recipe #139 suggested for pheasant or peacock.

“If you want to roast the small ones on a spit, as soon as they are caught pluck them dry and draw them; leave their head and feet on.  Stuff them with a little beaten pork fat, fresh fennel, beaten common herbs, raw egg yolks and common spices – which is done to keep them from drying out.  Sew up the hole and arrange their wings and thighs so they are snug.  Sear them on coals.  Wrap them, sprinkled with salt and cloves, in a calf or wether caul, or else in slices of pork fat with paper around them…When they are done serve them hot. (Scappi, pp. 206)

English Recipes

“Take a peacock, break his neck, and cut his throat, and flay him.  The skin and the feathers together, and the head still to the skin of the neck, and keep the skin and the feathers whole together; draw him as a hen, and keep the bone to the neck whole, and roast him, and set the bone of the neck above the broach (spit), as he was wont to sit alive; and above the legs to the body, as he was wont to sit alive; and when he is roasted enough take him off, and let him cool; and then wind the skin with the feathers and tail about the body, and serve him forth as he were alive; or else pluck him clean and roast him, and serve him as though do a hen. (Renfrow, pp. 572).

“Take and flay off the skin with feathers and tail, leaving the neck and crest still upon the bird, and preserving the glory of his crest from injury when roasting by wrapping it in a linen bandage.  Then take the skin with all the feathers upon it and spread it out on the table and sprinkle thereon ground cinnamon.  Now roast the peacocke and endore him with the yolkes of many eggs, and when he is roasted remove him from the fire and let him cool for awhile.  Then take and sew him again into his skin and all his feathers, and remove the bandage from his crest.  Brush the feathers carefully and dust upon them and his comb gilding to enhance his beauty.  After a while, set him upon a golden platter, garnish with rosemary and other green leaves, and serve him forthwith as if he were alive and with great ceremony.” (Craig, pp. 157)

“A peacock may also have the skin and feathers removed as described above when it may be stuffed with spices and sweet herbs, and finely chopped savory meats, and roasted as described in the foregoing recipe.  Then replace the skin and feathers when it should be “served…”…with the tail of the peacock was covered with leaf of gold, and a piece of cotton dipped in spirits was put in its beak.  This was set fire to as the bird was brought in Royal procession to the table with musical honours.”  (Craig, pp. 157-158)

The Elements in Common:

Each of these recipes discusses the various ways in which the peacock could be cooked.  Peacock, other than the Roman mummification recipe, mostly dealt with removing the skin with feathers, then roasting the meat.  After removal of the skin with feathers on, it was laid to the side and sprinkled with either salt or cinnamon for drying out and, unbeknownst at the time, bacterial retardation that could cause food poisoning.

In several of the recipes the bird is larded or wrapped in bacon, to preserve the moisture of the meat due to the low fat content of the flesh, with various herbs along with bacon and eggs used for stuffing.  This would produce a more robust flavoring with lots of added fat content and juices.

Only one recipe (Roman) actually suggests grinding the meat into patties for frying and not serving whole.  Further research shows that the recipe for ground poultry meat has spices and nuts mixed in before frying into patties.  As the male peafowl was valued for their brilliant feathers, I wonder if this recipe was used on peahens that had out lived their egg laying/brooding days.

Two recipes suggest using other types of meat to stuff the skin back into the form of the original bird with either savory meats such as pork and beef or the meat/bodies of small birds and herbs.  This is a variation of “this is not the bird you think it is.” subtlety seen at grand banquets where the flesh of one animal or multiple animals or fowl were shaped or sculpted into the form of another. (Faas, pp. 68)

Ingredients:

Peacock (or edible bird substitute)

4 egg yolks

1 fennel

1 ½ lbs of bacon (6-8 Bacon strips and ½ lb bacon pieces)

1/2 tbs salt

1 tsp cinnamon

1/2 tsp ground cloves

2 tbs flour

Or

1 peacock

1 cup ground bread crumbs

1 tsp ground pepper

½ red wine (pinot)

1 tsb fish sauce

½ cup pine nuts

½ lb bacon

Or

1 peacock

2 lbs bacon

Salt to taste

 

Redactions:

 

Prepping:

Before any cooking of the duck can be done, the bacon has to be made.  My research turned up little in the actual making of bacon.  Bacon use is ubiquitous in a variety of cultures as an edible tasty larding or just wonderful tasty addition to any recipe.  The making seems to have been so common that recipes for making were deemed unnecessary. You just knew how to make bacon.  With that being said, I am using the wonderful research done by Sir Master Gunther and his bacon making class.  I chose the French style for my experimentation in this new pork medium.  However my attempt to make bacon did not yield enough quality bacon to use for this display.  The bacon was too salty and I could not get the slices thin enough to actually wrap around a duck.

  bacon pieces

 The slices were either chunks or short thin slices.  Not much in between.  I believe I will need to work on the recipe and slicing technique before I can use my own home made bacon.  Loved the research Sir Master Gunther did, will definitely have another go at making bacon another time!

Italian Peacock #1

For the fennel stuffed duck the majority of prep work is getting the stuffing made.  First I gathered all the spices together.

 Italian duck spices

 The bacon and fennel were cut into small pieces, with the egg yolk and spices added next.

italian duck spices in bowl

Everything was mixed together as evenly as possible coating the fennel and bacon with the finer spices and egg yolk.

italian duck spices mixed

The young duck, without neck or head attachment,

 

young duck no head

was skinned ready for stuffing.  Yes this gets very messy!

 skinned duck no head

 The mixture was then stuffed into the duck.

 raw stuffed duck

 

The duck after being stuffed was wrapped in bacon slices.  I had to affix the bacon with skewers.  Toothpicks would have worked; however I was out of those.

 

 raw bacon wrapped stuffed duck

 This duck is not being suggestive, merely showing all the yummy stuff just waiting to happen.

The duck was then placed on a rack in the oven for an hour and a half.

  Italian cooked duck

 

This is a very tasty way to eat duck.  The bacon and fennel contemplate each other with the egg yolks.  The skewers were determined to stay in, more then I was willing to yank the cooked duck apart.

I have done this recipe using ducks with their heads.

skinned duck

The duck can be “formed” to have an upright look using skewers down the throat and pinning the neck to the chest.

scewered duck neck
This method is messy and irritating.  I preferred cooking without the neck and head attached.  However I know realize why and how the metal skewers were used for maximum effect when cooking peacocks.  Bamboo or even wooden skewers do not curve or bend in natural ways to get the best effect

 duck and pieces

 This duck just looks very unhappy and not nearly as appealing as the non-headed duck dish.  In period, as previously described, the eyes would have been replaced with something nicer like rubies.

 

Roman Peacock #2

Here, after gathering the spices together in one spot,

Roman duck spices

Pour about 1/3 of the wine into the bread crumbs and grind up the pepper corns.

ground pepper w wine soaked bread crumbs

I took the lovely dark duck meat,

raw duck breast meat

 

stripped the meat from the bones, including some skin and fat then ground everything together.

one raw duck in blender

 

This is one duck’s worth of meat in a Cuisenaire.  Roughly about four maybe five cups worth of meat.

The duck meat is ground fairly fine with this method.  In period, Romans would use a mortar and pestle for pounding their meat for dishes such as this.  (Faas, pp. 135)

ground raw duck w spices

The meat was then combined with the spices, pine nuts, and garum.  Next spices and breadcrumbs with wine were mixed with the ground duck, looking to overspill the bowl.

raw mixed duck w spices

 

This may look like period meatloaf but this is forming into something so much tastier and will never need ketchup.

I formed small patties, roughly about the size of my palm.  These will be very rich, so do not make them full sized.

duck patti w bacon one

 

The next step was to wrapped the patties in bacon instead of pork caul as no pork caul was to be had at any of my usual meat shops.  This being the case bacon makes a good secondary choice.

duck patty w bacon two

 

Duck meat patty was placed on bacon, and then wrapped in the bacon in the start of something very tasty.

duck patty w bacon three

 

 

Next the duck patties were placed in the cooking dish that had been prepped with wine in the individual “cups”.

cooking roman dish w wine

 

Next came the patties for cooking.

 

duck patties w bacon in wine dish

These were then slow cooked in a sweet red wine.  Till the bacon was crisp and the duck well cooked.

 

cooked roman patties in pan

After trying one of the “extras”, I have to say I really love this recipe.  This has to be one of my favorite Roman dishes now.

 

A closer look at a cooked bacon wrapped duck patty.

Roman cooked patti

 

The fat to meat ratio was as close to 80/20 as I could using only some of the skin and only a little of the fat stripped from the body.  The meat to fat ratio, I have read on a couple of cooking websites to be the ideal for both flavor and the happy mouth feel for rich meat.

Roman meat was pounded for a ground meat instead of cut/chopped (Giacosa/Faas) as we do in modern day.  Lacking a bevy of kitchen slaves or servants, I have chosen to use the modern day equivalent called a food processor.   After the meat reached a chopped state, I incorporated spices, bread crumbs, wine and nuts. The mixture was formed into patties and fried in olive oil.

I felt that while this was not a dish which would have been redressed in its own skin, the taste is worth trying as another alternative to the manifold roast recipes.  In my opinion, this dish likely came about when a peahen was past her prime laying stage and the Roman owner did not want to let the bird go to waste.  Since the peahen is rather drab in comparison to her more colorful counterpart, she would not have been mummified and displayed, but the meat would never be wasted.

 

French Peacock #3

 

This was the simplest of the three dishes.  The duck was stripped of its skin and salted, then wrapped in bacon.

 

rear of bacon wrapping in duckThis is to show how the duck is laid out then wrapped.  I hadn’t actually gotten to the stripping of the skin.  One of those “Ooops!” photos.  Strip skin then lay naked duck on bacon, not lay duck on bacon then strip off skin.  Things just get messy at that point!

Once the bird had been redressed in a pork covering, it was roasted for an hour or more, until done.

Cooked duck in bacon

This style of faux “peacock” does not match the taste of the other two dishes.  A skin covering would definitely needed to dress this bird up.  The taste is excellent and easier to cook though I would say the taste is not quite up to par with the other two dishes.

Period vs. Modern Techniques:

If a peacock were to be redressed in its own skin and served there were a few steps that were done.  In period a cook would have gone down to the market, Roman, Italian or English (if not to the livestock area where the fowl were hanging out) and purchased a bird of quality with feathers.  The purchase, like today would have been a princely sum.  The bird would then have been carefully skinned, with the skin being set aside and either salted or heavily sprinkled with cinnamon.  (Renfrow, pp. 572/Faas. Pp. 297) The body would have had iron skewers inserted into the body to give the proper curvatures while roasting on a spit.  (Scappi, pp. 207).  Once the body had finished cooking, the beak, feet and neck were gilded with gold or a flour paste colored with saffron.  (Craig, pp. 157).  This is if the bird were to be served whole as a main display.

Other recipes called for roasting either in an oven or a spit, Sometimes even ground and formed into patties. (Faas/Craig/Scappie/Renfrow)  This noble fowl was not just a one trick show peacock.

Modernly, I had to improvise throughout the whole cooking process.  The first issue being I could not get my hands on a reasonably priced peacock fully grown with feathers.  This required a substituted bird of good flavor and modest pricing.  Duck to the rescue!  Using store bought duck (not even the farmer markets in Austin carried ducks with skin and feathers attached).  Next not having a spit or a wood fired oven, I had to resort to a gas powered oven.  The no neck and head negated the need for spits though I have used wooden skewers in test cooking to give the ducks with heads a more lively appearance.  They came out of the oven, not smiling…more screaming as the muscles around their mouth contracted opening their beaks and causing the tongue to extrude.  At this point I decided that was far more realistic then any one should have to see and attempt to eat and went for the headless option.  In period, I am sure the peacock’s beak would have been wound shut with wire or strong linen threads.

The body display differences came from not having a fresh peacock skin but one that had been preserved for display.  The skin I had purchased was not a full skin, just the back and wings with only partial neck.  This negated any attempted to actually dress up a duck like a peacock.  The preserved skin would have been damaged and the duck would have tasted horrible!  Instead I decided to enlist a description of how Romans found the peacock display a beautiful center piece.  So much so that they would mummify the bird and the “handlers” would take the bird from banquet to banquet as a non-edible center piece.  (Toussaint-Samat, pp. 38) I purchased body parts in plastic molding.  In period a mold would have been carved from wood, possibly wax or even stone (though to be honest they might have rented the mummified bird instead of throwing a skin over a form as quicker and cheaper.  I say this after having built, glued and gilded one preformed form).  The gilding I have is in sheets of non-edible gild (a cost issue of faux gold vs. real gold).  I could have used the period flour and saffron.  Yet neither my faux gild nor the flour faux gild sheets looked good.  So I went with the faux gold paint.  There was gold gild paint seen in manuscripts, again a cost issue if I had been able to buy the real gold gild, hence faux gold gild.

The actual food ingredients were as period as possible i.e. organic where possible.  The dishes used to cook the birds in were as period as possible in ceramic/pottery roasting dishes.

To have done this in a truly period manner, I would have needed to access to a market with peacocks in season, raise my own bird(s), have a wood fired oven.  The metal spits could have been optional depending on which recipe I decided to serve.  Modern substitutes were done when period items could not be obtained.

Conclusion:

This work represents a desire to attempt an in period impressive dinner subtlety, something that is not seen at most feasts in the modern world.  I spent more time attempting to find peacocks at a reasonable price and already slaughtered, than revising my ideas to a more modest approach of buying a skin and working from a different angle with an affordable dark meat bird.

What I have found is that unlike a stuffed Boar’s Head, peacocks are hard to find at a reasonable price and buying just a skin whole or partial is still pricy and difficult to find.  Once purchased, a live bird would need a very strong coop to keep out the opossums, raccoons and foxes that roam my back yard, which I do not own, as well as feed…  The final hurdle in purchasing a live bird was that while I could have purchased the bird to skin and dress, I lack even the most basic skills that would have been necessary to skin and dress a bird in period fashion.

While this project was not as time intensive in the area of cooking as building a period castle subtlety, the search for an acceptable meat, again within price range, took several mental gear shifts.

I have enjoyed almost every step, immersing myself in the various techniques for raising, cooking and dressing a peacock in various period ways.  This project has given me both great enjoyment and horrifying nightmares.  I am not sure if I would attempt this again.  I think I would want to wait another year to forget about some of the more harrowing minute details that were overlooked, unexpected or completely out of left field.  I would have to say this project is not for the faint of heart.  Each person has to know their limitations ability wise, in and out of the kitchen.  I feel that I have risen to the challenge for a rare cooking research project in both perspective and display.

References:

 

Craig, E., (1953). English Royal Cookbook. Andre Deutsch Limited, London.

 

Damerow, G., (2010). Raising Chickens. Storey Publishing.

 

Fass, P., (1994). Around the Roman Table. University of Chicago Press, Chicago. 1994.

 

Giacosa, I., (1994).  A taste of Ancient Rome. University of Chicago Press, Chicago.

 

Good man of Paris.(1395). Le Managier De Paris.

 

Refrow, C., (1998). Take a Thousand Eggs or More.

 

Scappi, B., (2008). The Opera of Bartolomeo Scappi (1570). University of Toronto Press Incorporated 2008.

 

Taillevent. (1989) le Viandier de Taillevent. 14th Century Cookery. Library of Congress Cataloging-in-Publication Data.

 

Toussaint-Samat, M., (1992). History of Food. Barns & Noble Inc.

 

The Viandier of Taillevent , ed. Terence Scully,(University of Ottawa Press, 1988).  As present by http://www.reference.com/browse/subtlety and by Patrick Martins, nyu

 

http://www.angelfire.com/mi4/polcrt/Peacocks.html

 

http://bestiary.ca/beasts/beast257.htm

 

http://www.khandro.net/animal_bird_peacock.htm

 

http://www.peacockday.com/peahens.html

 

http://www.sparknotes.com/philosophy/augustine/section2.rhtml

 

http://thecoolchickenreturns.blogspot.com/2006/05/chickens-in-ancient-rome.html

 

http://en.wikipedia.org/wiki/Peacock

 APPENDIX I

 Peacock Breed Information.

The Indian peafowl is a part of the pheasant family with the Latin name Pavo Crisatus.  They are native to Sri Lanka, India, Pakistan, and the Himalayas where they are considered an ornamental bird and not wild or a game type of bird. (anglefire.com). The Indian peafowl has iridescent green or blue-green colored plumage and an upright crest.  There is also the Green Peafowl, Pavo Muticus, that ranges from Burma to Java.  There is also the Congo Peafowl, Afropavo Congensis. (Wikipedia).   White peafowl do occur in nature but are rarely seen due to lack of survival coloration. (peacockday.com)

This august bird traveled from India to the Middle East, from Alexandria to Greece and Rome.  From the Mediterranean the peafowl traveled upwards into Europe.  (anglefire)  Here the bird was reared and considered not a game bird, even though it was imported, rather a domesticated fowl that went straight to the lords table. (Toussaint-Samat, pp. 83)

The peacock, unlike the chicken, was not a common bird.  (thecoolchickenreturns.com)  Unlike the chicken a peahen will only lay 3-9 eggs a year while a single chicken could lay up to 200 eggs each year.  (Damerow).  This cuts down on the number of chicks born and raised to maturity in any given clutch or year.  Low numbers with great beauty, much like gold or rubies, raises the price of the peacock out of the common man’s reach.  This scarcity of peacocks, caused the pricing to be such that only nobility could afford such a rare beauty for their yard or table.  This holds true in modern times as well.  The peacock is, to this day, raised sparingly and only by dedicated lovers and breeders of this beautiful bird, raising the price beyond the grasp of the casual observer.

  APPENDIX II

 An Historic Overview.

There are various mythologies associated with the peacock. Such myths include stories of their magnificent round tails with the many seeing “eyes” for the Greek goddess Hera.  There were myths about the peacock and the Roman Goddess Juno as well as the guardians of paradise from Islamic folklore.  (anglefire)

 

 

 

 

 

 

 

 

 

http://www.khandro.net/animal_bird_peacock.htm

 

Several other mythic symbolisms are the psychic duality of man with peacocks standing on either side of the tree of life for the Persians.  Peacocks represented in Christianity’s mythos of the soul in Medieval Europe as immortality and incorruptibility to some sects.  (Khandro)

 

 

August 22, 2013 | No comments

Now that Gulf Wars is over and all the laundry has been done, I have a moment for more postings!  This next recipe was done for Kingdom A&S (one of three) for a Peacock recipe using duck for an alternative meat.  This recipe is my favorite.  I’ve made the patties with beef but duck beat out the beef hands down.  So if you have the time, use duck!

Roman Duck Sliders (Faux Peacock)

“Grind chopped meat with the center of fine white bread that has been soaked in wine.  Grind together pepper, garum and pitted myrtle berries if desired.  Form small patties, putting in pine nuts and pepper.  Wrap in omentum and cook slowly in caroenum.”  (Giacosa, pp. 90)

The ground meat patties of peacock have first place, if they are fried so that they remain tender… (Apicius, 54/Giacosa, pp. 90).

On a side note, the peacock was so expensive (roughly 50 denarii a bird) that some peacocks were stripped of their skin then cooked (roasted) in aromatic resinous substances until the meat was effectively mummified. Afterwards it was redressed and reserved at another banquet later that week or month without fear of rotting. (Toussaint-Samat, pp. 38)

This recipe, for ground patties, was probably used for peahens past their reproductive cycle, and at 50 denarii per bird, this would still be a very expensive and luxuriant dish to serve to nobility and emperors.

Ingredients:

1 peacock        1 cup ground bread crumbs        1 tsp ground pepper        ½ red wine (pinot)

1 tsb fish sauce        ½ cup pine nuts          ½ lb bacon strips

Redaction:

First cut as much meat off the thawed duck as possible with a bit of skin.

This is the start of the meat cutting.  Even though a young duck doesn’t look like it has a lot of meat there should be enough after everything blended you should have roughly 8 patties, so don’t worry unless you are making dinner for 20.  Then you have your work cut out for you!

Place all the meat with some of the skin into a Cuisinart and hit grind.

I know…not very appetizing but the dish does get better!

Gather all your spices into one spot.

First add a little of the wine to the bread crumbs with out making a soup.  2-3 TBS should do it.  Next mix in the pepper.

Then mix the spices into the ground duck meat.

Here we have a Roman meatloaf, but we aren’t done yet!

Form patties from the duck mixture, roughly the size of your palm.  If you have really large hands, you will want to trim the patties down a little.  If your hands are a bit small you will want to add to the patties so they are a bit larger.

Here I managed to get 8 patties roughly 3 inches in diameter.

Take the patties and wrap them in a slice of bacon.

Step one…place pattie on top of the bacon.

Next cover with the bacon.  You shouldn’t need a tooth pick.  The bacon grips pretty well to it’s self.

Finally for the cooking portion, place the bacon wrapped pattie in a pan with red wine.

Here you can’t see the wine, as the patties are on top.  The wine should come almost all the way to the top of the patties not just cup the bottom of the patties as seen here.  So when in doubt…add more wine!  This is a Roman dish after all.

Then put the pan in the oven at 350 for roughly 25-30 minutes.

As seen the bacon held to the pattie and the pattie is thoroughly cooked.

Here is a single pattie.

Oh my!  This is soo tasty.  The duck is a wonderful rich meat with the wine and pine nuts.  The bacon a great salty meaty counter point to the sweet wine the meats are cooked in.  This is a definite must for the Roman cook to try at least once!

 

Normally I would try to actually use the main ingredient listed.  This time, not so much.  Peacock is, unless you raise the birds your self, EXPENSIVE!!  So a good substitute needs to be found.  You could use pheasant…but they to are a bit expensive.  I went with skinned duck.  A good dark meat fowl that is in the affordable range and once the skin is stripped fairly lean.

Peacock done in the Italian Style

Original:

“If you want to roast the small ones on a spit, as soon as they are caught pluck them dry and draw them; leave their head and feet on.  Stuff them with a little beaten pork fat, fresh fennel, beaten common herbs, raw egg yolks and common spices – which is done to keep them from drying out.  Sew up the hole and arrange their wings and thighs so they are snug.  Sear them on coals.  Wrap them, sprinkled with salt and cloves, in a calf or wether caul, or else in slices of pork fat with paper around them…When they are done serve them hot. (Scappi, pp. 206)

Ingredients:

Peacock (or edible bird substitute)

4 egg yolks

1 fennel

1 ½ lbs of bacon (6-8 Bacon strips and ½ lb bacon pieces)

1/2 tbs salt

1 tsp cinnamon

1/2 tsp ground cloves

2 tbs flour

Redaction:

Italian Peacock #1

For the fennel stuffed duck the majority of prep work is getting the stuffing made.  First I gathered all the spices together.

The bacon and fennel were cut into small pieces, with the egg yolk and spices added next.

 

Everything was mixed together as evenly as possible coating the fennel and bacon with the finer spices and egg yolk.

The young duck, with out neck or head attachment,

 

was skinned ready for stuffing.  Yes this gets very messy!

The mixture was then stuffed into the duck.

 

The duck after being stuffed was wrapped in bacon slices.  I had to affix the bacon with skewers.  Toothpicks would have worked; however I was out of those.

This duck is not being suggestive, merely showing all the yummy stuff just waiting to happen.

The duck was then placed on a rack in the oven for an hour and a half.

This is a very tasty way to eat duck.  The bacon and fennel contemplate each other with the egg yolks.  The skewers were determined to stay in, more then I was willing to yank the cooked duck apart.

I have done this recipe using ducks with their heads.

The duck can be “formed” to have an upright look using skewers down the throat and pinning the neck to the chest.

This method is messy and irritating.  I preferred cooking with out the neck and head attached.  However I know realize why and how the metal skewers were used for maximum effect when cooking peacocks.  Bamboo or even wooden skewers do not curve or bend in natural ways to get the best effect

However cooked duck with a head attached just looks very unhappy and not nearly as appealing as the non-headed duck dish.  In period, as previously described, the eyes would have been replaced with some thing nicer like rubies.

 

 

So the two major A&S display events will be done by this weekend, so it’s time to post some of the recipes worked on.  The next 3 recipes will be devoted to “Peacock” and how to cook them.  Well “Faux” peacock as I really couldn’t afford to cook a real peacock.  I’ll post that paper which explains why.

Original Translation:

Peacock/Swan “Kill it like goose, leave the head and tail, lard or bard it, roast it golden, and it with fine salt.  It lasts at least a month after it is cooked.  If it becomes mouldy on top, remove the mould and you will find it white, good and solid underneath.” (Taillevent, pp. 23)

Ingredients:

1 Duck

1 lb bacon slices

salt

Redaction:

This was the simplest of the three dishes.  The duck was stripped of its skin and salted, then wrapped in bacon.

 

Once the bird had been redressed in a pork covering, it was roasted for an hour or more, until done.

And that’s it.

This style of faux “peacock” does not match the taste of the other two dishes.  A skin covering would definitely needed to dress this bird up.  The taste is excellent and easier to cook though I would say the taste is not quite up to par with the other two dishes.

 

An original Subtlety

This subtlety project started as another redaction recipe in the book “Opera of Bartolomeo Scappi”. Had I presented just the twist, without any decoration the taster would enjoy and amazingly complex dish of fruit, wine and spice; however they would have been visually underwhelmed with the presentation.  Think cow patty but tasty.  The shape lends itself well to a crown or coronet. I could have gone with this idea by gilding the pastry, studding it with pearls and lapis stones, inserting rock candy sugar “diamonds” but I didn’t think that was going to be visually impressive enough.  Then I thought of doing two snakes eating the other snakes’ tail, while doing painted scales of dough and painting dragon heads; however Scappi was very insistent that this was a rolled pastry.  I wanted something that fit the shape of the twist while giving the viewer the sense of something not of land.  A true subtlety.  The idea of an underwater dessert was born.

A few elements were added to the twist for this to work.  A larger “opening” for where a sea creature could enter and exit.  The shell would need to be painted.  Some period coloring is too poisonous to use so alternatives found.   Instead, I decided to add a few things found around the larger “shell” like smaller marzipan seashells, coloring them with spices.  Then using special sugar for sand.  The final touch was the idea of forming seaweed. I had first thought of doing marzipan seaweed, but I already had marzipan seashells.  Next I thought of doing a spinach pastry but I wanted everything to be edible.  After a few days of entertaining wilder and wilder imagery, sugar became my go to for the rescue.  The Scappi Twist as a dish grew into a subtlety, not because of its original beauty and shape, but something more than the original.

Subtlety – A short overview of food as art:

The intention of a subtlety is to create an experience rather than something given as a gift or sold.  The subtlety it not durable, it spoils, it has a fixed life-span that ends when it is eaten. The subtlety entered the dining hall in motion: the scene is wheeled in, fire blazing out of the mouths of beasts and the actors are put into life-like poses animated by other performers or the imagination. (Martins)

Monarchs put the feasts to good use as ways to make a vivid point, i.e. the inducing of guests to pledge allegiance to a planned crusade.  An example: Philip the Fair, at the Feast of the Pheasant, showcased a giant Saracen entering the feasting hall leading an elephant (there is a question about the edibility of said pachyderm), with a knight (Oliver de La Marche) playing the role of the captive Eastern church. (Wheaton, pg. 8/Martins).  Another example: Henry VIII.  George Cavendish wrote about a feast sponsored by the great Tudor king in such waxing enthusiasm for the feast “…I do both lack wit in my gross old head and cunning in my bowels to declare the wondrous and curious imaginations in the same invented and devised.” (Henisch, pp. 236/Martins)  The feasting was a display to move men and women into wondrous thoughts, glossing over the harsh reality of court life or a grand and compelling gesture.

A subtlety could be simple items.  A redressed peacock on proud display or stuffed fowl riding roast piglets; or as elaborate as a full pastry castle with trees containing candied fruit, glazed and stuffed mythical beasts, and musicians.  Allegorical scenes were not uncommon, with themes like “Castle of Love” or “Lady of the Unicorn”.  A subtlety could made of just the edible, such as a re-skinned peacock, or as a combination of paper mache and lumber to accent the food in the display.  These decorative subtleties were for powerful displays and less about eating, with the production being done by carpenters, metal smiths and painters and very little with chefs. Horace Warpole describes a banquet given in honor of the birth of Duke of Burgundy, where the centerpiece was of wax figures moved by clock work at the end of the feast to represent the labor of the Dauphiness and the happy birth of the heir to the monarchy. (Martins/Craig, pp. 17)

Creating a display:

Creating a display seemed to rely heavily on allegorical content from myth, fantasy or biblical content, such as the Pegasus from myth at the Roman table (Scully, pp. 107) or Lady of the Unicorn. The thought process that goes behind making a display was how each animal was viewed in allegorical terms.

“…the horns of an antelope might get caught in a bush in the same way humans might get caught in a life of sin. The nightingale represented love, the elephant implied chastity, the ape, lewdness and lust and the peacock, the purity of someone who never turns to sin.” (Martins).

The main display item, per these views should play upon the strength of the subjects or as humorous joke on the subject matter presented.

            The seashell motif is made in the nature of humor, an underwater seascape, and miles from the ocean in a semi-arid landscape, eaten by those who do not breathe water.  And should the items be introduced to water, they would either melt or come undone by that which the represented items live in.

Seashells in Italian Artwork:

Searching for Italian seashell artwork wasn’t difficult.  The first image that came up is Sandaro Botticelli’s famous work “The Birth of Venus” 1485

Image 1 https://www.britannica.com/biography/Sandro-Botticelli by Sandaro Bottecelli

This is an amazing piece of work with an allegory for every image painted.  The painting used tempera – a method where water and egg yolk mixed with pigment.  Sometimes whole egg with or without glue or milk were also used.  The picture is canvas instead of wood. (http://www.visual-arts-cork.com/old-masters/botticelli.htm).  Aphrodite’s shell is not the type of shell I need for my display, just a representation that seashells did appear in Italian paintings of the 1500.

Image 2 https://www.pinterest.com/pin/220957925439888372/

Aguamanil de Nautilus ,1570. Colección Francesco I de Medici. H: 30 cm. Palazzo Pitti, Museo degli Argenti, Florencia, Italia.

This artwork, featuring a nautilus shell, shows the shell type for which my subtlety is based on.  Unfortunately, due to the weight of the twist and the pastry shell’s fragility, there is no way I can stand the twist on its side.  The twist has to be shown lying down. 

Method/Technique:

For an Italian themed event, I wanted to do something very Italian.  Scappi is the go to for any good period Italian dish.  The twist was just the thing.  The first few times I made this, I did not like how the dish turned out.  The taste is amazing, but the look is pure cow patty.  It needed an overhaul.

First we start with the kitchen, where the food art was made.  Scappi’s kitchen, as seen in Plate 1, shows a large spit with a smaller side area of pots, possibly soups, sops or sauces.

Plate 1: Main Kitchen

Plate 2: Pastry Kitchen

Plate 2 shows the second kitchen (Scappi, pp 636, 637) for pastry making.  The wood burning section was put above the pastry oven for better control of heat.  Different heats were used.  By varying the amount of coals allowed under any one dish or dishes.  The heats Scappi used ranged from gentle heat, slow flame, hot heat or sprightly flame.  There are descriptions calling for dishes to have heat of glowing coals or under hot ash.  (Scappi, pp 54)  With the heat evenly distributed over the top of the ovens, this gives an almost modern ability to control the heat for pastries.

This varies slightly in how the Tudor ovens have been shown. The fire oven per period cooking show Hampton Court Palace Tudor Kitchen (https://blog.kathrynmcgowan.com/tag/hampton-court-palace-tudor-kitchens/) shows the oven heated with lots of wood and the resulting coals scrapped out.  Once the coals are scraped out, dishes of raw food are placed in the oven at various times (as the oven cools) and a wooden door is placed over the opening after each round of dishes goes in.   I do not have a wood fire oven.  An oversight of the homeowners association I’m sure!  I will bring this up at the next meeting.  The nerve not to allow fire ovens.  Have they no sense of period?!  Having not outdoor or even indoor fire heated oven, I set my electric oven at 350 and cooked for 45 minutes.

 Scappi wrote on the different types of pastry he used.  The kind that was sturdy but discarded.  A second pastry made lighter and flakier by the liberal use of butter, eggs and with herbs and/or spices. 

Scappi is particular about the pan used for the twist.  “Have a Tourte pan…” I did have a nice metal pie pan, similar to the one described by Scappi (Page 644), with a flat bottom and straight sides.

Plate 12: Torte Pan(s)

For the first part, I cut up the dates, mixed in the currants and golden raisins, poured in the wine and added spices into a metal pan.  A nice Italian red wine, not period (I wouldn’t trust a 500 year old wine as drinkable no matter how good the vintage).  The dried fruit cooked for 30 minutes.  Scappi didn’t specify type of wine, just wine.  He does reference wines with descriptions of sweet whites, or reds as pleasant or robust.  (Scappi, pp 61)  I prefer robust reds for their flavor.  Cooking diminishes the wine flavors slightly, hence my use of a robust red.

A quick note on Scappi’s recipe:

He called for currents and Corinthian raisins. It is possible that the Corinthian raisins called for were currents however, my believe this is a mistranslation. If Scappi had wanted currants, currants and dates, he would have said Double the amount of currants to the amount of dates used. Hence the use of raisins instead of double the amount of currants.

Next we start with the dough.  My daughter was unwilling to be my child slave labor even though I asked nicely.  She laughed at me.  Ungrateful child, I tell you!  Everything mixed well together, with the heavenly scent of rosewater.  I was almost able to knead for 15 minutes…maybe, knead until the dough is as smooth as a baby’s bottom.  After making this dough many many times, all I can say is you will build up arm muscles.

I let the dough rest for a few minutes while I used a metal colander to strain the excess wine from the fruit.  There wasn’t a lot left over, even with the use of an entire bottle, less than a cup of fruity wine.  Scappi shows a metal colander in Plate 11.  His is a bit shallower than the one I have, also made of metal.

Plate 11: Colander

            The pastry dough was rolled out onto the counter.  If I did this every day for 10 hours a day, I’d be buff as all get out.  Next I spread the wine soaked fruit on top of the dough, and sprinkled it with sugar and cinnamon.  The rolling was nerve wracking.  This was done in one long snake like roll.  The ends, due to the space left at the edges will be flaccid, making it easier to roll into a spiral.  This leaves the other end open.  I could have pinched off the edges and painted them down with butter into the main body or form the opening of a shell.  I opted for the shell opening using a stone carved bowl while cooking.  I do know the stone bowl was heat resistant and enough of a rounded both to form the “mouth” of the shell.

When the twist came out of the oven there was a split in the pastry.  I was on my fourth try in 24 hours.  I was out of time and out of supplies.  I had to go with what I had.  My “fix” was to put a hard sugar coating to contain and cover the art work before painting.  This is where I think Scappi would have two or three twists going at a time for a head table.  I think my issue with this twist was a yeast split in the dough while cooking.  Everything else was on point and on recipe. 

            For the marzipan, I used molds and hand forming.  For the molds, I couldn’t use wooden molds or even metal used in period, they just aren’t available.  My skills in carving are nonexistent, nor do I know anyone who has the tools to make these items.   I could have attempted to carve the shells by hand with sugar and Arabic gum paste but again I can’t carve worth a darn.  Not enough band aids in the world for me at this time and place!  I had to go with silicone for the 3D effect.

I was trying for something I hadn’t done before, a pastry style subtlety.   For the seaweed, I originally was going to use spinach, egg and flour mixture or possibly another bit of marzipan.  The spinach sheets cut into wavy forms then wrapped around wine bottles for the upright seaweed or laid out on a towel for the flat seaweed bed illusion.  This idea fell by the way side.

 After a bit of research, I found that the wedding of Lucrezia d’Este to Gioavnni Bentivoglio in 1473 Bologna, there were sugar sculptures of gigantic size.  The forms ranged from castles, ships, people to animals.  (https://www.metmuseum.org/toah/hd/wedd/hd_wedd.htm)  This means sculpting of sugar is something known during the 1500’s in Italy.  So doing sugar sculptures is by no means a stretch of the imagination for this type of artwork.

Using organic cane sugar as opposed to the modern sugar, I had to work with boiling sugar to form the seaweed forms.  Each batch had to be carefully poured or risk damaging the kitchen and serious burns to myself and others if they were nearby.  Boiling sugar is not something you can just casually toss around, can cause second degree burns.  I have personally witnessed the damage done and scars left by boiling sugar.  In short words, the skin was melted off as the sugar hit the bone even when water was poured over to cool the hot mess.  Boiling sugar is as close to home made napalm as “most” people can make and I excise full caution every time. 

What I love about using organic sugar for this project, it boils to the hard crack stage so much faster.  I don’t know why, but with in minutes I would have another batch ready to pour for my sea weed.  The color was always good (unless I added weird things like snap dragons…hey it was an experiment!).  I seriously suggest any cook doing sugar candy use the organic if they have any availability for this item.

A quick notation on sugar –

“Large and prosperous households bought their white sugar in tall, conical loaves, from which pieces were broken off with special iron sugar-cutters. Shaped something like very large heavy pliers with sharp blades attached to the cutting sides, these cutters had to be strong and tough, because the loaves were large, about 14 inches in diameter at the base, and 3 feet high [15th century]…In those days, sugar was used with great care, and one loaf lasted a long time. The weight would probably have been about 30 lb. Later, the weight of a loaf varied from 5 lb to 35 lb, according to the moulds used by any one refinery. A common size was 14 lb, but the finest sugar from Madeira came in small loaves of only 3 or 4 lb in weight…Up till late Victorian times household sugar remained very little changed and sugar loaves were still common and continued so until well into the twentieth century…” (David, pp. 139)

This is as close to modern sugar as we can go without trying for the heavily molasses unrefined for the head table.

The “paints” were brushed onto the shell and marzipan seashells for a more authentic look and feel.  I used spices (cinnamon and turmeric) with egg white as the binding.  Using spices for paint wasn’t as good as I had hoped.  Next time mixing the marzipan with the spices then layering the colored marzipan into the mold, would work better than trying to paint spices on to the already formed dough.  My daughter loved the idea of helping me with this part.  When she wasn’t sneaking a seashell to eat she was painting as garishly period as possible with the edible paints provided.  My seashells are a tad bit tamer by comparison.  But they are all lovely and tasty!

The majority of techniques used were by hand or with items as close to period as possible, other than the molds and paint brushes.  Neither were available in wood or metal forms.  Necessary variations to keep from poisoning those eating the food with non-food grade coloring agents used.

Materials:

            Edibles:

Almond meal – Blanched ground almonds.  Almonds originated in southwestern Asia as an edible seed and pressed into oil, eaten raw or ground into a flour type consistency.  This versatile seed is used as a drink, a flour base for desserts or sugar coated. The almond is grown in Asia, US, Marcona, Spain and Greece. (https://www.britannica.com/plant/almond)

Butter – I used a commercial butter.  I have not researched the type of cows for the Italian period (it’s on my list of papers to do!)  I could have made my own butter with a blender; however I’m not up for standing for a long time and churning, though I do know how the technique of a butter churn or butter horse.

Cinnamon – Indigenous to the island of Sri Lanka (Ceylon) and successfully replanted to grow in Northern India, East Java and the Indian Ocean islands of Seychelles.  The word Cinnamon started from the Greek word for spices with the prefix Chinese.  This spice traveled over various routes passing through the hands of Phoenicians and Arabs on its lengthy journey to become a dominant spice in the spice trade wars. (Czarra, pp. 10-12)

Cloves – Native to Moluccas in Indonesia, while successfully growing in Madagascar, Zanzibar and Pemba.  Harvested by hand when the clover flower buds turn pink at their base.  (Czarra, Pp 12-13)

Corinthian Raisins – Not having access to Corinthian Raisins, I used golden raisins for their coloring and sweetness.  The dates and currents were already a lot of brown on the inside, a bit of golden would go well.

Currants – Found in the Greek city of Corinth.  Also referenced as Ribes, corinthes, corans, currans, and bastarde corinthes.  There are 150 species found in Europe, Asia and North America ranging from black currants, ornamentals, golden currants to gooseberries. (https://ag.umass.edu/sites/ag.umass.edu/files/fact-sheets/pdf/currants.pdf)

Eggs – As this is an Italian dish, the most likely chicken eggs used for this would be the Sicilian Buttercup.  Don’t let the name fool you, these chickens roam free because they hate to be caged and are very fierce.  Not good pets but excellent eggs and taste. (https://www.americanbuttercupclub.org/about-the-breed.html)

Dates – Originating in the Near East and North Africa, a short distance from Rome, making them easily transported.  Aristotle compared the dates to daktylos (fingers) giving them their name.  High and sugar, eaten fresh or dried, sometimes ground into a meal or made into a syrup. (Toussant-Sumat, pp. 675-676)

Flour – Ground wheat. Ground grain of any sort can be made into flour.  Scappi calls for “Make a dough of two pounds of fine white flour…” (Scappi, pp. 488-489) hence the ground white. The finest grade of flour was made by boulting, a process in which part of the wheat kernel is discarded (out layer) so that only the inner layer is ground.  This ground flour is not the “white” flour of today but whiter than the whole wheat flour that would have been available with the grind of the entire wheat kernel. (https://oakden.co.uk/medieval-flour-and-pastry-article/)

Nutmeg – Native to the Banda Islands of Indonesia, nutmeg is the actual kernel of the fruit.  Nutmeg can be stored for a long time in airtight containers.  The outer fruit/lace of the nutmeg fruit is called mace.  (Czarre, pp. 16)

Powdered sugar – Finely ground Sugar.

Rosewater – Scappi mentions rose water as a matter of course for dishes.  (Scappi, pp. 42)  I have made rosewater before and it was the most astringent tasting thing I have ever put in my mouth.  Lovely color but useless for food in my opinion.  I went with store-bought for edibility.

Sugar – I used organic sugar.  Compared to the normal cane sugar, the difference is pretty startling.  Organic sugar has just enough molasses to make the sugar seemed tinged with gold.  Compared to actual dark brown sugar, with heavy molasses it seems almost pure white. 

Saccharum officinarum “…considered a spice even rarer and more expensive than any other…pharmaceutical use…gives its species name of officinarum.”   Considered very expensive till the late 1500.  Loaf sugar given the name due to the conical shape derived from refining into a hard and very white refined form. Caffetin or Couffin (English equivalent of “coffer” or “coffin”) named for the form, packed in plaited leaves palm and from the city shipped from called Caffa in the Crimea.    Casson a very fragile sugar also considered the ancestor to Castor sugar.  Muscarrat considered the best of all sugars, reported to be made in Egypt for the Sultan of Babylon. The Italian name mucchera denotes that it had been refined twice. (Toussaint-Samat, pg. 553-555)

            For a complete history on the spice trades via land or via water is a 50 page thesis paper or covered in multiple books such as Nathaniel’s Nutmeg (good story with at least one good fruit tart recipe), The scents of Eden (love this book). Spice: The History of a Temptation, The Spice Route, Dangerous Tastes.  The Tastes of Conquest (another excellent book), Out of the East: Spices and the Medieval Imagination (on my short list to acquire). The short version is spices were trade in ports and markets after long arduous and dangerous journeys via land or sea.  Please see the notations on the spices on points/islands of origins.

Paints- Period but not always edible:

Cinnamon – Produces a lovely red coloring, though this does imparts a strong cinnamon flavor to the marzipan.

Cochineal – Spanish Conquistadors conquering Mexico discovered that the Mesoamericans had found the perfect red dye coloring. Dye comes from of a small bug found on cacti.  50,000 to 70,000 bugs are needed per pound of dye.  The dye is produced when pouring boiling water over the dead bugs.  (https://www.smithsonianmag.com/innovation/bug-had-world-seeing-red-180961590/) This produces a strong red coloring.  In other words, bug juice.  I draw the line at knowingly eating this.  Because I won’t eat this, I won’t put this in my edible artwork.  Replaced with edible paint and cinnamon.

Lapis Lazuli – A mineral used as an expensive pigment in period paintings such as Bacchus and Ariadne by Titian.  Considered expensive and used only by accomplished painters with rich patrons. (https://geology.com/gemstones/lapis-lazuli/)   Produces lovely blue coloring. Not food grade.  Because I could not verify if this was cut with something toxic I replaced the dye with blue edible paint. 

Lead – Lead White used for paintings along with gypsum and chalk.(http://www.visual-arts-cork.com/artist-paints/renaissance-colour-palette.htm) Seen in “Miracle of the Slave”, 1548 by Tintoretto.  Produces a fine white coloring. Toxic to poisonous.  Replaced with white edible paint.

Malachite – A green mineral, found as early as 618 AD for paintings.  (https://www.mdpi.com/2075-163X/8/5/201/htm).  Seen in “Garden of Earthly Delights”, 1504 by Hieronymus Bosch.  Produces an amazing green coloration.  Not food grade.  Because I could not verify if this was cut with something toxic I replaced the dye with spinach juice.

Parsley –  Native to the mediterranean from the Apiaceaa family.  Attempted use as a green coloring agent.  Failure on dying sugar art green but makes a lovely, if interesting, sugar art display.  (https://www.britannica.com/plant/parsley)

Pearl – Natural formed when a grain of sand (or other irritant) invades an oyster soft interior.  The oyster coats the irritant with fluid called nacre.  Many coats are used to smooth out the rough edges. (https://pearls.com/pages/how-pearls-are-formed) Used as early as Roman times for heart disease by grinding pearls.  For black bile, ground pearls were mixed with musk. (King, pp. 314).  Produces lovely pearlescent shimmer.  Attempted to hand grind pearls in my pestle.  This did not go well.  Could not get a consistent sand like quality.  Rough and gritty.  Replaced with edible paint to replace gritty chunks.

Saffron – The usable part of the saffron plant are the three stamen.  The saffron is part of the Iridaceae family, growing wild from Italy to Kurdistan.  Produces a lovely red color and very expensive due to the quantity needed for dying.  (ToussaInt-Samat, pp. 518) 

Snapdragons – A flowering plant native to the Mediterranean and North America from the Pantaginacea family.  Attempted use as a red dye for sugar art.  A failure for coloring.   (https://www.britannica.com/plant/snapdragon)

Spinach Juice – Spinach is chopped then boiled.  The water reserved for coloring of sugar and painting onto pastry crust.

Note on Subtlety:

A subtlety could be made of just the edible, such as a re-skinned peacock, or as a combination of paper mache and lumber to accent the food in the display.  These decorative subtleties were for powerful displays and less about eating, with the production being done by carpenters, metal smiths and painters and very little with chefs. Horace Warpole describes a banquet given in honor of the birth of Duke of Burgundy, where the centerpiece was of wax figures moved by clock work at the end of the feast to represent the labor of the Dauphiness and the happy birth of the heir to the monarchy. (Martins/Craig, pp. 17)

Paint brushes:

            Per Cennini, paint brushes should be made from the middle hairs of cooked vair tails, trimmed then tied with thread or waxed silk thread before tucking them into a feather shaft.  After this is complete find a twig/wooden handle to fit into the other end of the feather shaft.  His preference for feather shafts was vulture, goose, chicken hen or dove. (https://www.medievalists.net/2016/08/how-to-make-medieval-artists-tools/)  I went with store bought brushes as I am fresh out of vair tails, cat hairs, squirrel hairs and the dog hair available is to curly.

Table Cloth and Dish (es):

For the table cloth I used a white linen cloth.  Here are several examples of white linen cloth used in Italian art work during Scappi’s era.

            Image 3 The Feast of Herod and the Beheading of Saint John the Baptist, by Benozzo Gozzoli

            A second picture denoting white linen cloth for the table covering.

Image 4 , The Marriage Feast at Cana by Paolo Veronese

            Both artists depict a feast with white linen.  So one can deduct that a white linen cloth for covering a table is, if not mandatory for good taste, at least acceptable for a feast.

Image 3 The Feast of Herod and the Beheading of Saint John the Baptist, by Benozzo Gozzoli

Here we see table ware of glass and not just metal plates. In the next painting, we see table settings of what looks to be silver or pewter.

Image 4 The Marriage Feast at Cana by Paolo Veronese                     

The twist is served on a metal plate.  All materials used were as close to period as possible with documentation of the inedible food paints and the use of substitutions.

            Transportation of this artwork has been an absolute pain the arse.  All pieces have to be individually wrapped with care for long trips.  In period, this art work piece would have only had to travel a few hundred feet from kitchen to table which makes transportation to an event a logistic night mare of trying to transport pieces more fragile than fine crystal that could shatter with every bump, turn or stop.

Complexity:

Had I presented just the twist, without any decoration, the taster would enjoy and amazingly complex dish of fruit, wine and spice; however they would have been visually underwhelmed with the presentation.  I wanted to do something more.  The shape lends itself well to a crown or coronet.  I could have gone with gilding, studding the twist with pearls and lapis stones with rock candy sugar “diamonds”; but I didn’t think that was going to be visually impressive enough.  Then I thought of doing two snakes eating the other snakes tail, while doing painted scales of dough and painting dragon heads; however Scappi was very insistent that this was a rolled pastry.  I wanted something that fit the shape of the twist, while giving the viewer the sense of something not of land.  A true subtlety.  The idea of an underwater dessert was born.

Italian Pastry Twist

Translation:

“…get a pound of currants that have been brought to a boil in wine, a pound of dates cooked in that wine and cut up small, and a pound of seeded muscatel raisins that have been brought to a boil in wine; combine all those ingredients and mix them with the sugar, cinnamon, cloves and nutmeg. Spread the mixture out over the sheet of dough along with a few little gobs of butter. Beginning at the long edge of dough, roll it up like a wafer cornet, being careful not to break the dough. A twist like that needs only three rolls so it can cook well; it should not be too tight. Grease its surface with melted butter that is not too hot. Begin at one end to roll it up, not to tightly so it become like a snail shell or a bae. Have tourte pan on hand lined with a rather thick sheet of the same dough greased with melted butter and gently put the twist on it without pushing it down. Bake it in an oven or braise it with a moderate heat, not forgetting to grease it occasionally with melted butter. When it is almost done, sprinkle sugar and rosewater over it.

Serve it hot. The tourte pan in which the twists are baked has to be ample and with low sides.”

(Scappi, pp. 488-489)

Dough:

Make a dough of two pounds of fine flour with six fresh egg yolks, two ounces of rose water, an ounce of leaven moistened with warm water, four ounces of fresh butter or rendered fat that does not smell bad, and enough salt. That dough should be kneaded well for half an hour. Make a thin sheet of it, greasing it with either melted butter that is not too hot or with rendered fat. With the pastry wheel cut the edges one after the other, which are always quite a bit thicker than the rest. Sprinkle the dough with four ounces of sugar and an ounce of cinnamon.

(Scappi, pp. 488-489)

Dough Ingredients:

7 cups pastry flour

1 stick of butter

6 egg yolks

1 oz. of sour dough yeast (use sourdough starter or 2 package of regular yeast if sourdough is unavailable)

Melted butter to brush over pastry and pastry sheet

1 tsp salt

4 Tbsp. rose water

Dough Dusting:

4 Tbsp. of sugar

2 Tbsp. cinnamon

Filling:

3 C currants

3 C chopped dates

3 C raisons

1 bottle good wine

1 tsp each of ground cinnamon, cloves, nutmeg

1 tsp rosewater

1 Tbsp. sugar

1 stick of butter, sliced thinly as needed for dotting

Optional:

2 sticks of butter (instead of 1)

1/3 C. rose water

Redaction:

Start with making the dough. Even though the rose water sounds excessive it isn’t. If anything

I’d add another Tbs. and another stick of butter.

I put the flour into the bowl first, with a bit of salt, and then add the butter mixing by hand. Once the butter was mostly incorporated, I slowly added the egg yolks, rose water and yeast. I had to add about a cup of water to help bring everything together.

When Scappi says moisten the yeast, I believe this is where he means add the yeast to a cup of water as this was the only way the dough was going to form. This forms the dough from rough to smooth elastic that is just amazing to work with.   Here the finished dough is shown.  As smooth as a baby’s bottom.

Note on Butter and Rose Water:

            After making this recipe a multiple times, I added more rose water as I was unable to actually smell or taste with just 1 tsp as per Scappi.  1/3 C sounds like a lot and it is; however for this recipe I think a little excess is called for.  The taste and smell is just divine!

            As for the extra butter, this made the dough an even greater joy to work with.  The taste was out of this world.  If you want to make two versions, the original and then with the added butter and rose water, you won’t be disappointed!

            After the dough was finished, I let it sit while I chopped the dates, and measured out the currants and raisins. Next the spices were measured out and a good red wine found.


A quick note on Corinthian raisins: He called for currents and Corinthian raisins. It is possible that the Corinthian raisins called for were currents however, my believe this is a mistranslation. If Scappi had wanted currants, currants and dates, he would have said Double the amount of currants to the amount of dates used. Hence the use of raisins instead of double the amount of currants.

            I used a nice Italian red. 

            I went with a good red as cooking will leach a bit of flavor out. This red was amazing.  Make sure you use one you’re willing to drink and serve to friends.  It really makes a difference!  Once plump, roughly 30 minutes, pour the fruit into a sieve and let the excess wine drain out. When the fruit mixture is cool enough to handle we get the dough ready for stuffing.

Note: Scappi’s recipe could read to incorporate the spices with the fruit in the wine mixture, or wait till the re-hydrated fruit is finished cooking then mix once you are ready to spread over the dough. My first try at this recipe, I added the spices to the fruit and wine.

I thought about doubling the above recipe to start. That is unnecessary. This recipe will take care of filling all the dough you need.

Roll the other half out and cut into a circle that fits into a pie pan, brush with melted butter the bottom of the pan before putting on the bottom layer of dough. Then brush the dough in the pan with butter. Do not skip the bottom dough layer! This keeps the twist from burning on the bottom.

Roll out the first half of the dough into a thin sheet, trimming the edges to form a nice rectangle. Then lay the mixture on top of the dough leaving ½ inch at the edges. Sprinkle with cinnamon and sugar mixture. Dot with butter.

Starting from the long edge, roll three times.

Then coil the pastry.

Place on top of the 2nd sheet of dough that is at the bottom of round metal pie tin.  Brush with melted butter.

Heat the oven to 350 until done, roughly 30 minutes. When it comes out of the oven dust with sugar and rose water.

For the opening to the Nautalis portion of this subtlety I added a stone dish for the opening. GREASE the dish before you wrap the dough around it… I didn’t do this the first time and the dough cooked onto the stone bowl so that I had to present with the bowl stuck inside. I tried to pass it off as part of the dish but it was still noticed.

Marzipan:

            Marzipan is an almond thick paste that can be formed into flowers, trees, birds etc.  In period the marzipan would be colored with saffron, cinnamon etc. to produce colors that would sometimes override the flavor of the candy.  Sometimes the color was more desired then the flavor and the spicing used would overpower the dish so much so as to be less sumptuous then a less colorful dish. Vivid colors, Wheaton explains, were highly prized and were often achieved at the expense of flavor (Wheaton, pp. 15/Martins) Taillevent also suggested more common spices for green coloring such as parsley, sorrel and winter wheat still green.  Gold and silver leaf was brushed onto the surfaces of food i.e. pastries for a greater visual impact. (Martins)

Ymages in Sugar:

And if ye will make any ymages or any other thing in suger that is casten in moldys, seethe them in the same maner that the plate is, and poure it into the moldes in the same manere that the plate is poured, but loeth youre mold be anoyntyd before with a litell oyle of almaundes.  (Heiatt, pp. 142)

While this is a great notation that marzipan was used in period, it’s not big on ingredients, so I went to Scappi…and was severely disappointed.  Per the notations in Book III. Lean Dishes: Egg dishes (275.1) “Scappi does not give a recipe for pasta di marzapae.”  So I had to keep looking for a recipe with ingredients.

It took a few moments but I did find a recipe with ingredients and period.  

To make Marzipan. Take almonds appointed as above, & flatten the paste as for making a tart, then form the marzipan as fancy as you want, then take sifted sugar & mix with rose water, & beat it together that it is like a thick batter, cast there a little on the marzipan, & flatten with a well held knife until the marzipan is all covered, then put it into the oven on paper: when you see that it boils thereon & that it does like ice, tear apart from the oven, when it doesn’t boil, & sprinkle on nutmeg: if you want it golden, make it so. (http://www.medievalcookery.com/)

Translation:

And if you will make any images of any other thing in sugar that is cat in molds make them in the same manner that the plate is, and pour it into the molds in the same manner that the plate is poured, but let your mold be anointed before with a little almond oil.

Ingredients:

2 C. Blanched ground almonds

2 C. Powdered sugar

1 Egg white

2 tsp Rose water

Redaction:

I mixed the almond meal and powdered sugar together, being sure to get out all the clumps.  Next I added the egg yolk and rosewater so that all would gel together.  I had to make two batches as this is just an amazing tasting not-cookie.  The fact that I get to form fun images with it is just a bonus.  I will note that my powdered sugar was bought instead of taking regular table sugar and grinding finer in a mortar and pestle.

Once the dough had a chance to rest, I pressed it into the shell molds. 

The images were allowed to harden a bit more overnight, then painted with spices (Cinnamon and Turmeric).  My painting skills are laughable.  Egg white was used as the binder for keeping the powdered spices on the marzipan, though I have read that a clear alcohol could also be used; however, I haven’t read of clear alcohol being used in period for a binding only egg white. 

I also painted a few with edible paints instead of using actual ground period pigments.  The use of spices as paint is interesting but my artwork wouldn’t win at “Cake Wars”.  Next time I will try with the spices being incorporated into the dough and the colored dough pieces then pressed into the molds.  A learning curve as it were.

I made extra marzipan to make small flower corals that stand upright with multiple branches.  Here I rolled out the marzipan and made small twisted strands, colored with cinnamon and turmeric. These strands were attached to a base, and then an egg white wash used to attach the strands together.  Here I used cinnamon and turmeric as the contrasting colors.  Tasty and beautiful.  They do well to compliment the varying heights showing in this display.

My daughter helped me paint the remaining 50 sea shells using more modern paints. She was in the mind set, the bolder the better.

I have to say I love this edible.  I could snack on this all day, which is probably why it was so popular in medieval cookbooks. 

Sugar Sculpture: 

            With words by Rodinson, we see that many countries had a way to make and shape sugar. 

“: A dish found in every cookery book of the middle ages, called lozenges, losinges, lesynges etc.  These different names ended up meaning, in French or neighboring languages, the geometric term losange or lozenge which displaced the word rhombus in Franc, England and, to a varying extent, other countries…It seems…found the recipe translate in Latin and Italian cookery books from the end of the thirteenth and fourteenth century …round plates of sweets cut into rhomboids, which is easier than cutting into rounds …” (Rodinson, pp. 210)

            The original recipe is simple a 2:1 ratio of sugar to water  I took 1 cup sugar to ½ water and boiled to the softball stage.  Coloring is added with the water so as to not disrupt the water ratio.  Here I pour the softball sugar onto a pan covered with wax paper.  I have seen other sugar confections poured onto marble countertops and holding forms to keep the liquid inside, without any table top covering for the marble.  I used what I could period wise and available. 

The first 5 tries were abysmal.  The first two wouldn’t set up at all.  The next three were squishy and couldn’t stand.  They were slow melting puddles.  The first two I used a candy thermometer and the next three I did the softball stage test with ice water.  Not going to lie.  I got a bit upset, even shed a few tears as I trashed my failures away.  I did get one set of semi usable sugar “seaweed”.  The results are sticky but very malleable and unable to stand upright.  This is not what I wanted at all!  The sea weed was so bad my roommate asked if Shrek had sneezed all over my working space. 

I had to change things up and put my big girl panties on after spending a night thinking of different things to fix this mess.  I went back to my first experiments with straight up lozenges and ditch the water and went with honey as the main liquid.  Better results were achieved.

Recipe:

1 C. Sugar

1 Tbs. rose water for scent

Coloring spice

¼ C. Honey

            I ran out of spinach water for green coloring and had to use green food dye.  Not pleased with this but after 6 cups and 3 bundles of boiled spinach I was done cooking spinach for the next 4 months.  Cochineal was used in an attempt for several other “coral” sugar sculptures until I ran out of bug juice.  Again I had to substitute food coloring and cinnamon.  I did a few with saffron.  This was an expensive experiment but resulted in lovely pieces.

Real Cochineal (bug juice for dying).  I didn’t have much so ran out quickly.  Once I ran out, I decided I wasn’t willing to eat bug juice and no one else should have to either.  I draw the line at this and nonfood grade colors i.e. lapis lazuli and malachite even those were considered good coloring agents.

            I laid out parchment paper onto cookie sheets.  Rose water was added because I love the smell.  It could just as easily have been another type of spice instead of rose water i.e. cinnamon, cardamom, saffron.  Then I took the sugar and honey mixture to a hard boil.  This is where I can make a smooth line on the back of a wooden spoon with another spoon and the liquid does not fill in the resulting gap.

No candy thermometer used, just period know how or when sugar is at the hard candy break.  I had to judge by eye for a certain type of “frothiness” and by the scraping of the liquid off the back of a wooden spoon with another.  If the scraped area did not fill in the sugar was ready to pour. 

The sugar mixture is carefully poured onto the parchment paper.  This is like homemade napalm.  Do NOT let this get on your skin or you will have severe burns.  Once the melted sugar is cool enough to handle and still malleable, I formed seaweed over coffee mugs.  The hardened sugar is as fragile or more so than dried egg shells. 

            A second type of sugar art was attempted.  This time I took the sugar mixture off the stove and let it cool for 60 seconds.  I put two bowls of ice next to my work station.  Here I slowly poured the liquid sugar over the ice.  This will do two things.  The sugar will harden into small short, non-formable, sculptures or melt into the ice water that forms.  I had both things happen.

            I attempted to make one other type of food art for the underwater scene.  I tried to make a “lace coral” using a simple recipe of water, oil and flour.  Three tries with varying amounts of oil/cochineal colored water/flour ratios and I had to let this experiment go. 

The resulting mess wasn’t edible (even before the bug juice) and I had reached my quota of failures for the week.

Conclusion:

            This piece of food artwork was 90% new to me.  I have never done the Scappi Twist before.  So redacting the fruits, the dough and the art idea were 100% new.  The marzipan, I had used many years ago but not to the extent of forming and painting.  A new skill learned.  I have never worked used sugar to form tall, long pieces of artwork.  I’m going to be really blunt, there was a lot of swearing and a few tears as things shattered, broke, tore and burned; however I learned a new skill.  This subtlety was a lot of new for me and I loved every minute of it. 

            Is it period?  As much as modernly possible with everything that could be made using period ingredients and available period techniques.  I do know that I used/and worked with as period ingredients and recipes, with a few exceptions made for health and supplies, that were available. 

            Is it large enough?  For a full 100 person feast, several twists would have been made to serve everyone; however the grande artwork piece would have been reserved for the head table.  Here I need to add that a subtlety could made of just the edible, such as a re-skinned peacock, or as a combination of paper mache and lumber to accent the food in the display.  (Martins/Craig, pp. 17) 

Let’s talk failures: 

            This project as I’ve noted is not just a one and done type of cooking entry.  New skills were learned along with a new recipe.  New work arounds were tried for various coloring agents while trying to perfect the art of sugar.  The sugar coloring used both period and modern.  I tried cochineal, parsley, saffron, and spinach, turmeric, cinnamon, and snapdragon for period coloring.  When I ran out of the period ingredients (mostly green) I had to turn to modern food coloring.  Some experiementing was better than others.  The parsley as a food coloring agent was so so.  It made a beautiful work of sugar glass that was a little green with bits and pieces of the actual herbage.  Very lovely and usable.  The snap dragon (red) made the most amazing pink sugar, until heated up.  Once the snap dragon sugar mixture heated up the snap dragons went from red to black and the sugar was just an almost brown.  Not pretty and not usable.  This made me sad.

            I had four failures of the twist in a 24 hour stretch.  Each time I made a twist something went wrong, didn’t look like and they all had large “cracks” form on the outside, leaking the wine soaked fruit.  These tries weren’t presentable.

            Not a big deal, unless the cost of the dried fruit, spices, and wine at $50-80 per round begin to add up.  I have gone through multiple bottles of wine and more dried currants, dates and raisons than expected.  I’ve had to fix cracks in the main entry by using sugar instead of making another twist because there was no more time allotted.  Unfortunatly the twist wasn’t going to handle a 5 hour drive anywhere even with the sugar glass “glue”.  I had to give up and wait for another day/time.

            I believe my error was doing the dough first then the soaking of the fruit.  This allowed the dough to rise.  The first few times I did the twist, I did the fruit first then the dough and had no cracks.  The next four, I did the dough first then the fruit and had cracks.  This was my mistake.  I had no sleep and was stressing over the long drive with fragile foods.  I should have caught my error sooner.  I didn’t.  Next time though!

           The sugar seaweed broke, cracked or just didn’t set properly.  The stands for the sugar seaweed ate part of the seaweed glass and didn’t form.  Almond paste was a good semi holding base but some of the sugar glass fell over due to the weight of the “sea weed”.  I tried making a sugar glass base to hold the sea weed.  The base was to hot or not deep enough.  The hot base ate the sea weed by inches rendering the sea weed into stubs also known as useless. 

            I consider myself pretty accomplished in the kitchen doing period recipes; this subtlety was probably the most painful in cost, time and broken parts.  Would I do it again….ask me in a few weeks when the freshness of the failures have worn off.

           As a modern society, we have become obsessed with watching modern cooking shows like Cake Wars that we forget that SCA cooks are hobbies in normal kitchens, smaller budgets and usually one person.  There are no fancy kitchens.  No aides other than significant others or children “helping”.  There is no fancy equipment as the cook is trying to go as period as possible.  Ovens, stove tops and possibly kitchen aids with a few smaller silicone items on hand are as about as fancy as it gets.  Please remember that for the truly fancy stuff…

“These decorative subtleties were for powerful displays and less about eating, with the production being done by carpenters, metal smiths and painters and very little with chefs. Horace Warpole describes a banquet given in honor of the birth of Duke of Burgundy, where the centerpiece was of wax figures moved by clock work at the end of the feast to represent the labor of the Dauphiness and the happy birth of the heir to the monarchy. (Martins/Craig, pp. 17)”

            Could I have done more?  If I were actually willing to risk people’s lives by including lapis lazuli, malachite, and lead powders for paints, probably.  I just don’t think people should be poisoned for food art.  I enjoyed making something like the twist into an underwater scene.  It brings a flare of cooking an amazing dessert with the flare of unusual creativity in art work.  Well worth the time and skills learned.

References:

Craig, Elizabeth. English Royal Cookbook. (1953). New York Press

Czarra, Fred. Spices, A Global History. (2009). Reaktion Books Ltd.

David, Elizabeth. English Bread and Yeast Cookery. (1977). Grub Street Cookery

Hansen, Marianne.  And Thus You Have  a Lordly Dish: Fancy and Showpiece Cookery in an Augsberg Patrician Kitchen. Medieval Food and Drink.  (1995). St. University of NY Press.

Henisch, Bridget Ann. Fast and Feast: Food in Medieval Society. (1976). Pennsylvania State University Press.

Hunter, Lynette. Sweet Secrets from Occasional Receipts to Specialized:  The Growth of a Genre; as cited in Banquetting Stuffe. (1986) Edited by C. Anne Wilson. Edinburgh University Press.

Hieatt, Constance, Hosington, Brenda, Butler, Sharon. Pleyn Delit: Medieval Cookery for Modern Cooks. (1979) University of Toronto Press.

King, Anya H., Scent from the Garden of Paradise: Musk and the Medieval Islamic World. (2017) Koninklijke Brill.

Rodinson, Maxime., Arberry, A.J. Medieval Arab Cookery. (2001) Prospect Books.

Scappi, Bartolomeo. The Opera of Bartolomeo Scappi. (1570).  (2008). Translated by Scully, Terence.  University of Toronto Press.

Scully, Terrence. The Art of Cookery in the Middle Ages. (1995). The Boydell Press, Woodbridge.

Tirel, Guillaume. The Viandier of Taillevent: and edition of all extant manuscripts. (1988). Translated by

Scully, Terence.  University of Ottawa Press.

Toussaint-Samat, Maguelonne. A History of Food. (2009). Blackwell Publishing, LTD.

Wheaton, Barbara. Savoring the Past: The French Kitchen and Table from 1300 to 1789. (1996).  Simon & Schuster Inc.

Image 1 https://www.britannica.com/biography/Sandro-Botticelli

Image 2 https://www.pinterest.com/pin/220957925439888372/  Aguamanil de Nautilus ,1570. Colección Francesco I de Medici. H: 30 cm. Palazzo Pitti, Museo degli Argenti, Florencia, Italia.

Image 3 http://www.italianrenaissanceresources.com/units/unit-6/sub-page-05/narrative/

Image 4 https://eclecticlight.co/2016/01/31/the-story-in-paintings-a-feast-of-veronese/

Image 5  http://www.italianrenaissanceresources.com/units/unit-6/sub-page-05/narrative/

Image 6 https://eclecticlight.co/2016/01/31/the-story-in-paintings-a-feast-of-veronese/

https://ag.umass.edu/sites/ag.umass.edu/files/fact-sheets/pdf/currants.pdf
https://www.americanbuttercupclub.org/about-the-breed.html
https://www.britannica.com/plant/almond
https://www.britannica.com/plant/parsley
https://www.britannica.com/plant/snapdragon
https://geology.com/gemstones/lapis-lazuli/
http://www.godecookery.com/
https://blog.kathrynmcgowan.com/tag/hampton-court-palace-tudor-kitchens/
http://www.medievalcookery.com/
https://www.metmuseum.org/toah/hd/wedd/hd_wedd.htm
https://www.mdpi.com/2075-163X/8/5/201/htm
https://pearls.com/pages/how-pearls-are-formed

http://www.reference.com/browse/subtlety/Patrick Martins/nyu

https://www.smithsonianmag.com/innovation/bug-had-world-seeing-red-180961590/
http://www.visual-arts-cork.com/old-masters/botticelli.htm
http://www.visual-arts-cork.com/artist-paints/renaissance-colour-palette.htm

February 8, 2020 | 2 comments

So I made this dish a month or so back and really did it all wrong!  How you may ask?  Well for one, I used pomegranate molasses, because I had it on hand, instead of the juice.  Do NOT do this.  For the love of your taste buds…really do not do this.  Pomegranate molasses is great in some dishes but very tart.  Suck your face in through your cheeks tart.  So spend the time crushing and straining pomegranate seeds OR buy the juice (just juice nothing else in the juice!)

Tabikh Habb Rumman:

A cooked dish of pomegranate seeds

 Peacock and chicken with pomagranate 037

Translation:

Finely pound pomegranate seeds and strain.  Thicken with shelled almonds.  Add sugar, mint, cinnamon, and mastic, allowing it to congeal over the fire.  Mix with chicken which has been boiled and baked.  Boil it.  If you want to put pumpkin with it, do so.  (Ibn al-‘Adim Kitab al-Wuslah/Salloum, pp. 98)

 

Ingredients:

Whole chicken or 6 chicken thighs

1.5 C pomegranate juice

1 C shelled almonds (I used slivered…had ‘em on hand)

1/2 tsp ground cinnamon and ground mastic

1 tsp. sugar

2 tsp mint

 

Redaction:

Gather your items up.  Takes just a moment.

Peacock and chicken with pomagranate 010

I placed the chicken thighs in water to boil.

Peacock and chicken with pomagranate 033Ok, so this is the after boil picture.  The thighs had cooked about 10 minutes with me skimming the foam.  Hush…a novelty for sure!

The thighs were then placed in a baking dish to cook for 35 minutes at 350.

Peacock and chicken with pomagranate 018Fresh from the oven and roasting.  Personally, I can’t tell the difference of boiling then roasting instead of just roasting.  Perhaps it keeps the meat moist; however if you pay attention you can do this with roasting as well.  I’m sure somewhere, someone did this as a roast or just a boil and not both steps at once; however this time, we do both steps!

A quick note: Mastic smells a bit like pine resin yet has a slight almost lemon taste.  Don’t use a lot of this.  A little goes a loooong way.  This is more to perfume the dish then to add actual flavor.

The pomegranate juice was mixed with the almonds and spices.  The mixture is stirred till thickened.  The sauce smells amazing.  I can not emphasis how wonderful the aroma is.  Just beautiful.  I don’t normally wax enthusiastically about a smell over the taste, but the first thing you notice when cooking is just how gorgeous this sauce smells.  Take the time and take a few deep breaths; enjoying each inhale!

Peacock and chicken with pomagranate 032Yep, I went the easy buy the juice way.  It felt awesome!!  I highly recommend this.

I decided against pumpkin.  It is a period item but not one I had on hand easily today.  If you’re going to use pumpkin don’t use the orange ones!!  Those are modern and for show, being bred for size not taste.  Get a heritage pumpkin and roast that with just a touch of oil on the inside (after scooping out the seeds).

Pull the chicken out of the oven and place in the pot with the pomegranate mix.

Peacock and chicken with pomagranate 034

You can leave the pieces whole or shred.  Mix with the pomegranate sauce and serve over rice.   I do suggest leaving the chicken in the sauce till the meat is almost falling off the bone.  A long slow simmer of 30 minutes.

Peacock and chicken with pomagranate 037

 

January 31, 2017 | No comments

I had gone to Pennsic last year and picked up a small booklet of recipes.  Spanish.  “A Brief Overview of Early Spanish Cuisine”  As a side note: The full book has the only recipe for cooked cat.  Not that I would ever eat a cat; however the idea someone was hungry enough to actually make a recipe of said animal speaks a lot of the times.

Bake to tastier cooking though.  Mushrooms!  This is a sauce, though the taste of this dish could be a stand alone side.

Which speaks of making saucer of Mushrooms

Peacock Dora and more 015

Translation:

If you want to make sauce of mushrooms, parboil them well, and when they are parboiled take them and sauté them with oil.  And then make the sauce this way: have onions and parsley and cilantro, and mince them and distemper them with spices and with vinegar and a little fat.  And then make pieces of mushrooms; and when they are sautéed put them in this sauce.  Or give them cooked  on the coals with salt and oil.

 

Translation copyright Eden Rain (Sent Sovi. Catalan transcription copyright Rudolph Grewe) From: A brief Overview of Early Spanish Cuisine. Pg. 20.

 

Ingredients:

2 C Mushrooms

2 Tbs vinegar

1/2 onion chopped

1 handful ea. Parsley and cilantro

Salt to taste

 

Redaction:

Boil the mushrooms for 2 minutes.

Peacock Dora and more 003

Drain and slice once cool enough to handle.

Peacock Dora and more 010

Chop your cilantro and parsley (here I used flat leaf parsley).  Both Cilantro and Parsley came from my garden, store bought is good too!  I used roughly a half cup of olive oil though bacon fat/chicken fat/duck fat/beef lard etc. would work as well.

Sauté the onion, then the greens.

Peacock Dora and more 014

Add the mushrooms with salt to taste.  Finally drizzle in your vinegar.

Peacock Dora and more 015

 

January 28, 2017 | No comments

What happens when you have a cocky rooster who attacks small children?  Dinner.  This rooster got to age for 2 days in the fridge and was fork tender after roasting but I needed the perfect sauce.  Something sweet.  Something sour.  Something best served hot.  I had just the right new recipe to try out on the damn cock who went out with a squawk.

Limonada – Lemon Sauce

Peacock Dora and more 026Translation:

First make broth of chickens and the broth should be well cooked and flavorful.  And then make of it milk of peeled and minced almonds.  And put this to cook in a good pot, with spices, much ginger, saffron, and lots of white sugar and juice of lemons.   And make it to boil a lot.  And if you wish to enhance it, put in a chicken wing well minced, so that it disappears.  And this sauce should be well colored, and you should give with chickens from the spit or the pot.  And you should have much sugar and juice of lemons, in the stew that the one pull the flavor of the other.  And flavor it with salt and with spice, of sour and of sweet.  And if for chance you don’t want to make it with sugar put in of good honey.

From the 14th c. Sent Sovi.  Translation copyright Edan Rain. From: A Brief Overview of Early Spanish Cuisine. Pg. 30.

Ingredients:

1 tsp ginger

1 pinch saffron

1 Tbsp. sugar or honey

1 C lemon juice

1 C almond milk

1 whole roasted chicken

1 C chicken broth

 

Redactions:

Roast a whole chicken.

Peacock Dora and more 001

This rooster will offend no more.  So fresh if I squeezed he’d still be crowing.  Gather up your ingredients.  I had to wait till the chicken was roasted for the drippings.  That’ll teach me to get ahead of the recipe!

Peacock Dora and more 017Take the juice from the roasted chicken and pour into a pot.

Peacock Dora and more 018This came straight from the roasting pan of the above rooster.  I would suggest saving the drippings from any future chickens just in case you have a period sauce you want to make.  They used a LOT of what we would consider wastage now…i.e. the roasted juice and fat of a fresh cock.

Add the almond milk,

Peacock Dora and more 019

with spices with lemon juice,

Peacock Dora and more 022

and add the sugar.

Peacock Dora and more 021

Give everything a stir till blended then boil.

Peacock Dora and more 024

Once the sauce has thickened and reduced by 1/3, take the chicken and quarter it.  Place on a plate and pour the sauce over.

Peacock Dora and more 026I had to add a bit of honey because the lemon juice I used was organic, so it was NOT a mellow lemon flavor.  This juice had bite.  So be sure to taste this before you serve over the hot chicken.  My daughter was delighted with the taste of the sauce and her former pet rooster.  The circle of life was had this night!

March 30, 2016 | No comments

More results »