History in my Wardrobe

Evolution of the Regency Spencer?

2012-02-24T10:25:00.002+11:00

I've heard it said that the Earl of Spencer singed the tails of his tail-coat while standing beside a fire and then cut off the ends, unwittingly starting a new fashion. Or was it? Looking at these pictures of an early spencer from 1795 at http://www.abitiantichi.it/collezione/abiti/corpino25.html makes me wonder - was it simply evolution?

High Court tribute to Dickens

2012-02-13T10:50:00.003+11:00

We danced at a tribute to Charles Dickens at the High Court yesterday. A snippet was played on the ABC news at http://www.abc.net.au/news/2012-02-12/legal-luminaries-pay-tribute-to-dickens/3825828?section=act

Regency Spencer

2012-02-06T21:18:00.000+11:00

I love this little silk spencer with its embroidered flowers - and being able to find a cotton velvet to match made it extra special.

My main difficulty with this project was the embroidered flowers - they were very thick and caused havoc in seams.

I used the Sensibility Spencer Pattern - and would recommend it to others for its ease in making.

I have the bonnet, now I need to make a spencer.

Regency Bonnet

2012-02-06T21:08:00.002+11:00

This is the pictorial diary of the makings of my latest regency bonnet, made to match my spencer. I will be teaching others how to make this bonnet at the 2012 Jane Austen Festival Australia in April.

Why indoor soccer? Well, our son was a member of the ACT Disabilities Team in the
Australian Championships in January - so I was sewing this bonnet in the front row!

1812 Regency Tailcoat, December 2011

2012-02-06T20:40:00.001+11:00

I originally planned to diary the making of this 1812 Tailcoat. I started with the best of intentions in May 2011, but life intervened - in the name of overseas travel.

I must say that this coat is the most international garment in my collection. It started life in my Yarralumla studio, and then proceeded to be completely handsewn across the US, Canada, England and Denmark. Starting a new job as soon as I returned from my travels delayed its completion until December 2011.

So I apologise that I do not have the "makings" of this coat - but I do have the memories of sewing it in wonderful locations, surrounded by friendly dancing folk across the world.

John wearing the blue wool 1812 tailcoat in December 2011.

First toile

Adjusting the shoulder seams.

Ready, set, go!

Starting pad stitching

Silk-lined sleeves

Vintage Curls

2012-01-27T15:57:00.003+11:00

I love this vintage curling video. I have very fine hair and look forward to seeing if it will work the next time I have a dance display.

Scaling Patterns with Photoshop & Adobe Acrobat Pro

2012-01-23T17:00:00.000+11:00

I opened up my copy of Jean Hunnisett's Period Costume for Stage & Screen 1800-1909 today planning to scale up some Regency dress sleeves.
I am already aware the patterns are an approximate size 12, my size, so I didn't expect to have to change much.
My dilemma was that I didn't want to spend much time blowing it up, and I could not photocopy the book or enlarge it on a photocopier. All I had to hand was my iPhone, an A4 printer, Photoshop and Adobe Acrobat Pro.
What I worked out was not rocket science, but it was fast, simple and achievable in less than 30 minutes.

I took a photo of the pattern piece I was planning to scale up.
Uploaded the photo to my computer.
Opened the picture in Photoshop.
Cropped the picture tightly.
Counted how many squares across it was - the scale is one square = one inch.
Opened up image size and made sure the width measurement of the image matched what I wanted to scale it to.
Saved the image as a .jpg.
The I opened up Adobe Acrobat Pro - I use Adobe Acrobat 9 Pro.
I opened the jpg in Adobe Acrobat Pro [file - open - show all files - file name]
Then I printed it all out, single sided, black & white: file - print - tile all pages - tile scale 100% - overlap 0.005 in - + cut marks.

Then I trimmed the pages and stuck them together with tape. Now I get to play with fabric!

Challenging Projects

2012-01-19T09:23:00.000+11:00

From 23 April 2012 I'm running a Challenging Historical Sewing Series on Monday evenings. The price is being kept low, numbers small and there will be an expectation that we diary our progress and avoid procrastination. This is where you bring out the gorgeous photos or fashion prints and start making! We don't teach, we support each other. For more information see http://aylwen.blogspot.com/p/classes.html

2012 Regency Sewing Classes

2012-01-15T18:08:00.000+11:00

2012 Historical Sewing Class Schedule

Yarralumla, ACT

Beginners Regency Sewing with Aylwen Gardiner-Garden [max. 4 students]
Over 6 evening sessions Aylwen will teach you the basic sewing skills that will enable you to go on and build your own Regency wardrobe. You will learn how to read a commercial pattern and get your correct size. You will begin with a cotton regency dress.
Cost $165. Thursday evenings from February 2nd: 6pm – 8.30pm

Beyond Beginners Dressmaking with Aylwen Gardiner-Garden [max. 4 students]
This series is designed for those who have mastered the basics, know how to sew straight, finish seams but need help with reading instructions, pattern layout and sewing techniques. In this class you will construct a Spencer incorporating some of the following techniques:- buttonholes, facing and other techniques not learnt in the introduction class.
Cost $165. Thursday evenings from March 8th: 6pm – 8.30pm

Easter School Holiday Sewing with Aylwen Gardiner-Garden - Monday 23 April-Friday 27 April
5 fun sessions from 2.30pm - 5.00pm over 5 days. Aylwen will guide and encourage beginner sewers through the finer points of making a Regency chemisette and reticule. Pattern included.
Cost $165 (Students will need to be competent with their own machine.)

2-day pre-festival Regency bonnet making workshop 31 March - 1 April 2012
Includes pattern and materials. Please bring your own sewing kit and packed lunch.

KCI Dress Project [5]

2012-01-06T00:16:00.000+11:00

Not much to report tonight. I've measured the 6cm wide bias ruffle to be 245cm long on each row, then will gather to the skirt circumference.

I've started the slow progress of sewing the rolled hem by hand.

The blue killerton dress [part 1]

2012-01-05T13:38:00.002+11:00

Before I post my new research on this gown, here is my research from 2009 that I posted in my Live Journal.

Dec. 29th, 2009 at 7:54 PM

For some time I've been planning this dress, and over time have collected enough close-up images both from Killerton House and from Gwendolyn Basala, who saw the dress at Killerton House long enough to take a few sketches that she has shared with me. You can see her version of this gorgeous dress at www.gwendolynbasala.com/portfolio/1820_Ball-Gown.html [dead link]
For a long time I've hesitated as the hem was missing in the photo that was in my copy of The Art of Dress.
Surely with such decoration up top there must have been an elaborate hem? I still can't believe the discrepancy in colour from the photo below to my new photos.
The answer: yes, it is elaborate, it is gorgeous, and I have a picture at last! I may even do the skirt first, as the bodice looks like taking me a long time, and I'm bursting to share this hem with you!

koshka_the_cat recommended this lace for another regency project of mine and I think it will be perfect with the sleeves:

Dress Research:
Colour: The dress is blue, not the purple shown in all the pictures.

Skirt Hem: The hem is padded with wool wadding. Decoration is shown here.

The front bodice is decorated with a piped design that I call roleaux. Please correct me if I'm wrong. I'd love to work out a simple way to make and apply this decoration. At the moment I'm looking at a two-part method of rolling the bias and whipping it closed, and then attaching it to the bodice.

On closer up viewing, I believe the two step process to be the way it was originally done. How impatient we get in these days of machinery! This image shows where the stitching is coming apart in the piping.

The front bodice is darted, as shown here:

I've just spent the afternoon calculating yardages and drawing up sleeve patterns and hem templates. This will be a big job - the piping alone will be 22m - just over 834". I'm really tempted to use my sewing machine for this!

Fabric Needed: 6 yards
Piping: 1.25 yds using the method shown at pir8.freeservers.com/quilting/CBT/ with the left over used to make the roleaux for the bodice decoration.
Skirt: 3 yards assuming 100" round and my fabric is 44" wide, plus I have a personal preference to dupion slubs running vertically.
Bodice & Sleeves: not sure yet, but may get 1 3/4 yards to do these, the triangles and the buttons, plus spare in case of emergencies. After this any left will be used for bonnet and reticule.

I've found some 44" wide silk dupion that looks close, as close as I'll get considering I haven't had a chance to see the dress in person and am relying on other people's photos. I'd prefer fabric without the slubs but can't find anything else close in colour. The biggest questions for me now is "will this colour look ok on me?", and what colour spencer to wear with it? I don't think my brown camel spencer will suit. This dress will be suitable to wear for the National Jane Austen Festival.

Specifications:
Sleeves: 214" piping, 40" x 2.5" wide lace. I'll make a mock-up sleeve before I scan the pattern. I'm using Jean Hunnisett's book as a guide for the sleeve.
Neckline: 50" trim, self-piped on both sides, plaited. 100" of piping
Hem: approx. 40 triangles (20 in each row), 520" piping around all sides.
Buttons: 1/2" discs, still to count.
Bodice Trim: Will try using 1/2" wide bias, rolled and whip stitched to see if it is the same size as in my
pictures.

Pattern:
I plan to use a simple rectangular-ish outline for the bodice piece - there are darts at the bottom of the bust allowing for the slight gathering at the neckline. The darts need to be done before I start the embroidery.

Using commercial patterns successfully

2012-01-05T12:15:00.001+11:00

Have you used a commercial sewing pattern and bemoaned the finished product? Have you looked at someone wearing a 'homemade' dress and wondered why it looked a mess? Have you looked at someone else and wondered who made their gorgeous clothing - they couldn't have made it themselves!
Using a pattern is not the secret to good sewing. Research is the answer.
Before you cut out a pattern you should do as much research as you can. Look for examples of the dress on other people, particularly people with your body shape. The finished product may be shown on a slim young girl - it will not look the same on a well-padded hourglass figure! Make sure you know the correct undergarments to be worn under the garment. Visit the pattern company's website and see if they have online pictorial step-by-step pattern instructions. Look for online dress diaries. Look at who is recommending the patterns - send them an email and ask them why they are recommending the pattern. Ask them why they are 'not' recommending other patterns.
Because of the power of the internet I have chosen not to list the pattern companies I do not recommend. There are some out there that I would not use for certain eras, yet these companies do have some patterns that I have found very useful.
I do however, recommend patterns that I am currently using. Because I teach and sew for a living, I have to be careful of copyright. I have permission from some patten companies to use their patterns, and don't have permission from others. Because of this, I try to steer away from using companies I don't have permission from. I'm not saying I don't admire their patterns, its just safer for me to use the ones I have permission from.
At the moment I am using the Sensibility pattern range - and sell them as well. Jennie Chancey has given me permission to use these patterns in my classes, for my dance display troupe and for small-scale commercial production.
I have heard different reactions from people both in Australia and overseas. Some people love Jennie's patterns and others tear them to shreds. Quite often I hear people complain about lack of historical accuracy - and I'd like to refute this claim. If you have purchased one of Jennie's patterns you will receive an instruction booklet - inside this booklet is the historical background of the pattern. If you are not satisfied with Jennie's research, she is online and happy to answer your questions. Others have mentioned problems with the patterns - please report your problems to Jennie. She is eager to hear from you - and will correct a pattern if it is at fault. She has an "ooops" page on her website with all corrections listed, and pdfs to be downloaded with the corrected piece. She then makes the correction to the next batch of patterns to be sent out.
Also ask yourself - when was this pattern released and what was the market asking for? No matter how historically accurate you wish a pattern to be, does the market want it yet? Jennie's first pattern came out when asking people to wear a "push-up" bra was as much as you could expect of the market. Now people are asking for more accuracy, so Jennie has brought out a pattern to be worn over stays and chemises, plus a pattern for undergarments.

This article is a work in progress and contains my thoughts without any edits or corrections.

KCI Dress Project [4]

2012-01-04T23:40:00.000+11:00

I haven't been able to spend as much time on this project as I'd wished, but am spending a few hours every evening.
Late this evening I cut out the front and back skirts from the Sensibility Regency Dress pattern. I'm very lucky that the length of the skirts on the pattern are perfect for my height.
I made a cardboard template with the hem ruffle measurements, then chalked them on across both skirt pieces. Getting four rows of ruffles to sit neatly will be a challenge.
I have cut out the bias ruffles, so tomorrow's job will be to hem them, then attach piping and start applying them to the skirt.

Front and back skirts.

Chalk markings for ruffles

KCI Dress Project [3]

2012-01-04T09:12:00.002+11:00

Matching up fabrics is difficult. I spent a lot of time online searching through fabric.com - I put the word "stripe" into the search box and proceeded to browse through hundreds of striped fabrics.

Last week I was hunting through my attic and found these fabrics. I'm thinking of using the blue fabric for piping and contrast.

My client loves this fabric, so the ballgown version of the KCI Gown will use this berry and gold fabric. Today the fabric supplier confirmed they could match the berry for a contrast fabric for the bodice.

KCI Dress Project [2]

2012-01-03T11:08:00.001+11:00

I plan to use a commercial pattern for this gown. I have learnt so much from following other costumers dress diaries - and want to make it easy for others to replicate this gown if they like my version.
Who better to ask than Jennie Chancey from Sensibility Patterns? She has two regency patterns on the market that I can play around with.
Her advice was to:

Use the drawstring bodice from the Elegant Lady's Closet, as it looks like the fabric beneath all the trimmings on this is gathered, and you get the wider, rounder neckline with the ELC. However...
Use the Regency Gown skirt, which has the smooth front. You'll simply gather the drawstring bodice to fit it, which means...
Make the gown tie or fasten up in back (also original Regency Gown pattern).
My short ballgown sleeves from the Elegant Lady's Closet look like these. You can use the long sleeve pattern to add the undersleeve-style attachment inside the cuff.

18th Century Stays - when I first started out

2012-01-02T18:51:00.000+11:00

I've had an interesting seven years making 18th century stays. When I started out I found it hard to find any online tutorials, no one near me had ever made any - all I had for reference were my books - and the one I found most useful was Costume Close Up.

I devoured this book and learnt so much, and was so excited when I got to meet the author, Linda Beaumgarten, in person in Williamsburg in March 2011.

My first challenge was making the pattern fit me, and my large hips. After a few unsuccessful toiles, I ordered the JP Ryan strapless stays pattern. That was one of the best decisions I've made, as Janice has drafted up a wonderful pattern that is adaptable to ALL body types. If you are just starting out, I thoroughly recommend this pattern. The pink stays below were size 16 bust, 18+ hips - and the pattern they came from was a Size 14!

My 2011 stays - Size 12/14
silk brocade-duck interlining-linen lining-leather binding

My journey is not over - I have lost more weight and am making new stays. I just need to find the time!

Regency Undergarments

2012-01-01T14:32:00.001+11:00

Most regency women wore a set of stays underneath their gowns. They were either short stays or a fuller body stay with cording for strength. They supported the body and lifted the bust but did not bring in the waist - that was to come during the Victorian period.
Stays were worn over a short-sleeved chemise made of either cotton or linen depending on the district/town/country you lived in, the crops that were grown or where your fabric was imported from. Over the stays was worn a bodiced petticoat, followed by a chemisette and day dress for daytime wear and by a gown for balls. Chemisettes were not worn with ballgowns and often a short or sleeveless chemise was used with short sleeved ballgowns. Regency women valued their fair skin and took particular care to keep their skin from burning.
Below are some examples of extant undergarments.

Chemisette, c.1800-25 Snowshill Collection, Gloucestershire UK
http://www.nationaltrustcollections.org.uk/object/1349950

Chemisette, c.1800 Killerton House UK
http://www.nationaltrustcollections.org.uk/object/1360127

Early 19C Linen Chemise
http://www.mfa.org/collections/object/shift-118902

French, worn in America, about 1821
http://www.mfa.org/collections/object/woman-s-shift-49989

Early 19C Stays
http://www.mfa.org/collections/object/stays-50004

Early 19th Century Petticoat, source unknown

Early 19C Bodiced Petticoat
http://www.mfa.org/collections/object/woman-s-underdress-49958

Early 19C Pocket
http://www.mfa.org/collections/object/woman-s-pocket-324224

Early 19C Drawers 1810-20, image courtesy http://regencysa.proboards.com/

If you want to make your own there is an excellent pattern for Regency Undergarments that you can purchase or download as an e-pattern from Sensibility Patterns. Ready-made Regency/Napoleonic Era undergarments can be purchased online from Regency Reproductions.

English Dance Week 10-12 April 2012

2011-12-31T21:44:00.000+11:00

My favourite past time is dancing - without dancing everything pales into insignificance. My love of historical clothing came about because of dancing. In April 2012 we are organising two events in Canberra, an English Dance Week followed by the Jane Austen Festival. I do so hope you can join us! Click on the poster below to see a larger image that is easier to read. Registrations are limited - tickets can be bought online at http://edhda.eventbrite.com

Janet Arnold's archive material online at last!

2011-12-30T23:18:00.001+11:00

And many thanks to fiofiorina for this news: At the 2008 Costume Colloquium Mary Westerman Bulgarella, Santina Levy, Thessy Schönholzer Nichols and Roberta Orsa Landini handed over crates and crates of Janet Arnold's archive material to the Sopraintendenza of the Pitti Palace Costume Gallery, with the promise of this being digitalised. Here is the digitalised archive, at least parts of it, as the work isn't finished yet.

http://archiviomedici.costume-textiles.com/cerca_lecture.asp?clect=1

To access the pictures in colour (not dimly lit as in the Galleria) go to "Lectures".

http://archiviomedici.costume-textiles.com/imgarchivio/L.I.12.jpg

Regency Chemisette

2011-12-30T22:45:00.000+11:00

Today I started on the underpinnings for a new project for a client - a full regency wardrobe. It includes a chemise, pantalettes, stays, petticoat, chemisette, day dress, spencer, open robe, ball gown, reticule and bonnet. Yes, this is the project with the KCI-inspired ball gown.
I'm rather pleased with the chemisette. It is mostly hand stitched - a necessity with the very sheer linen as it kept wanting to move around. I had more control over it by hand stitching. When I finished I couldn't see the stitches!

You can make your own copy of this chemisette by using the Sensibility Undergarments Pattern or order one from Regency Reproductions.

Chemisette, c.1800 Killerton House UK
http://www.nationaltrustcollections.org.uk/object/1360127

KCI Dress Project

2011-12-28T21:18:00.000+11:00

My KCI Dress Project is a 2-part project. The first part of the project is to make a ballgown inspired by the trimmings of this gown. The ballgown will duplicate the bodice puff decoration, have short puffed sleeves and only two rows of flounces on the skirt. The second part of the project is to make a gown as similar to this gown as possible.

Summary of the existing dress at http://www.kci.or.jp/archives/digital_archives/detail_59_e.html: the existing gown is made of a brown and blue striped silk taffeta. It has a separate jacket and dress, matching belt, silk taffeta cording and puff decoration on the bodice and four rows of flounces on the bottom of the skirt.

Left cuff

bodice and sleeve details

Rows of flounces, piped

Slightly padded hem

right sleeve cuff

Close-up of the bodice trim

Looking after and using your sewing patterns

2011-12-28T17:29:00.001+11:00

I have collected a vast number of historical sewing patterns over the past twenty years. Most of them are stored in filing cabinets according to their historical era, a few of the smaller modern ones are in plastic boxes in my attic and my regency patterns live semi-permanently under my sewing table.
It is these ones that I decided to organise today. Although I already have paper copies of the Sensibility Sewing Patterns, I have gone online and ordered them as e-patterns (and right now there is a 15% OFF SALE) so I have their instructions and pattern duplicates stored on my computer in case of an emergency or if I'm travelling away from home and want to do some sewing in my hotel room. It just takes one child carrying a hot chocolate in their hand to walk past, see a soccer ball....need I say any more?
I have just printed off all the instructions onto A4 paper and put two pages at a time, side-by-side, through my A3 laminator. Not only does it make them waterproof, it also makes them easier to read. All I need to do is punch a hole in the corner, tie them together with a ribbon and store them on the hanger that I store my pattern trace-outs on.
Have you got a pattern organising method you would like to share? What has worked for you?

15% Discount on Sewing Patterns

2011-12-27T19:55:00.001+11:00

There is a 15% discount on right now on at Sensibility Sewing Patterns!

Christmas Recipes Past

2011-12-21T13:33:00.001+11:00

TO MAKE A HACKIN. From a Gentleman in Cumberland.
SIR, THERE are some Counties in England, whose Customs are never to be set aside and our Friends in Cumberland, as well as some of our Neighbours in Lancashire, and else-where, keep them up. It is a Custom with us every Christmas-Day in the Morning, to have, what we call an Hackin, for the Breakfast of the young Men who work about our House; and if this Dish is not dressed by that time it is Day-light, the Maid is led through the Town, between two Men, as fast as they can run with her, up Hill and down Hill, which she accounts a great shame. But as for the Receipt to make this Hackin, which is admired so much by us, it is as follows. Take the Bag or Paunch of a Calf, and wash it, and clean it well with Water and Salt ; then take some Beef-Suet, and shred it small, and shred some
Apples, after they are pared and cored, very small. Then put in some Sugar, and some Spice beaten small, a little Lemon-Peel cut very fine, and a little Salt, and a good quantity of Grots, or whole Oat-meal, steep'd a Night in Milk; then mix thefe all together, and add as many Currans pick'd clean from the Stalks, and rubb'd in a coarfe Cloth ; but let them not be wash'd. And when you have all ready, mix them together, and put them into the Calf's-Bag, and tye them up, and boil them till they are enough. You may, if you will, mix up with the whole, some Eggs beaten, which will help to bind it. This is our Custom to have ready, at the opening of the Doors, on Christmas- Day in the Morning. It is esteem'd here; but all that I can say to you of it, is, that it eats somewhat like a Chrifimas-Pye, or is some-what like boil’d. I had forgot to say, that with the rest of the Ingredients, there should be some Lean of tender Beef minced small.
From Richard Bradley, The Country Housewife and Lady’s Director.(London:1732, pp.122- 123.

INGOLDSBY CHRISTMAS PUDDINGS.
Mix very thoroughly one pound of finely-grated bread with the same quantity of flour, two you pounds of raisins stoned, two of currants, two of suet minced small, one of sugar, half a pound of candied peel, one nutmeg, half an ounce of mixed spice, and the grated rinds of two lemons; mix the whole with sixteen eggs well beaten and strained, and add four glasses of brandy. These proportions will make three puddings of good size, each of which should be boiled six hours.
Bread-crumbs, 1 lb. ; flour, 1 lb. ; suet, 2 lbs. ; currants, 2 lbs. ; raisins, '2 lbs. ; sugar, 1 lb. ; candied peel, 1 lb. ; rinds of lemons, 2 ; nutmegs, 1 ; mixed spice, 2 oz.; salt, 4 teaspoonsful; eggs, 16 ; brandy, 4 glassesfuls : 6 hours.
Obs.—A fourth part of the ingredients given above, will make a pudding of sufficient size for a small party : to render this very rich, half the flour and bread-crumbs may be omitted, and a few spoonsfuls of apricot marmalade well blended with the remainder of the mixture.
From Eliza Acton, Modern Cookery. (London: 1845).

PUNCH SAUCE FOR SWEET PUDDINGS.
This is a favourite sauce with custard, plain bread, and plum-puddings. With two ounces of sugar and a quarter-pint of water, boil very gently the rind of half a small lemon, and somewhat less of orange-peel, from fifteen to twenty minutes ; strain out the rinds, thicken the sauce with an ounce and a half of butter and nearly a teaspoonful of flour, add a halfglass of brandy, the same of white wine, two thirds of a glass of rum, with the juice of half an orange, and rather less of lemon- juice : serve the sauce very hot, but do not allow it to boil after the spirit is stirred in.
Sugar, 2 ozs. ; water, 4 pint ; lemon and orange rind : 14 to 20 minutes. Butter, 11 oz. ; flour, 1 teaspoonful ; brandy and white wine each wineglassful ; rum, two thirds of glassful ; orange and lemon juice.
From Eliza Acton, Modern Cookery. (London: 1845).

A DELICIOUS GERMAN PUDDING SAUCE.
Dissolve in half a pint of sherry or of Madeira, from three to four ounces of fine sugar, but do not allow the wine to boil; stir it hot to the well-beaten yolks of six fresh eggs, and mill the sauce over a gentle fire until it is well thickened, and highly frothed; pour it over a plum, or any other kind of sweet boiled pudding, of which it much improves the appearance. Half the quantity will be sufficient for one of moderate size. A small machine, resembling a chocolate mill, is used in Germany for frothing this sauce, but a couple of silver forks, fastened to- gether at the handles, will serve for the purpose, in an emergency. We recommend the addition of a dessertspoonful of strained lemon-juice to the wine.
For large pudding, sherry or Madeira, 1 pint ; fine sugar, 3 to 4 ozs. ; yolks of eggs, 6 ; lemonjuice (if added), 1 -dessert-spoonful.
Obs.—The safer plan with sauces liable to curdle is to thicken them always in a jar or jug, placed in a saucepan of water ; when this is not done, they should be held over the fire, but never placed upon it.
From Eliza Acton, Modern Cookery. (London: 1845).

SAWSE MADAME (Our oldest roast goose recipe).
Take sawge. persel. ysope. and saueray. quinces. and peeres, garlek and Grapes. and fylle the gees þerwith. and sowe the hole þat no grece come out. and roost hem wel. and kepe the grece þat fallith þerof. take galytyne and grece and do in a possynet, whan the gees buth rosted ynowh; take an smyte hem on pecys. and þat tat is withinne and do it in a possynet and put þerinne wyne if it be to thyk. do þerto powdour of galyngale. powdour douce and salt and boyle the sawse and dresse þe Gees in disshes and lay þe sowe onoward.
Take sage, parsley, hyssop and savoury, quinces and pears, garlic and grapes and fill the geese therewith and sew the hole that no grease comes out and roast them well and keep the fat that falleth thereof. Take galantine and fat and do (cook) in a posnet, when the geese are roasted enough, take them and cut them in pieces, and that that is within cook in a posnett and put therein wine if it is too thick. Do thereto powder of galingale, powder douce and salt and boil the sauce and dress the geese in dishes and lay the sauce on top. Posnet was a three legged saucepan, sometimes also called a skillet. Galantine was a sauce made by boiling red wine, a cinnamon stick, a little vinegar or verjuice and some sugar together. It was then sweetened with a little sugar. Powdour douce was a sweetened spice powder much used in court cookery across Europe. It probably varied according to the cook’s preferences. One recipe (poudre douce) in Le Menagier de Paris (c.1393), which is contemporary with the Forme of Cury, contains cinnamon, ginger, grains of paradise, nutmeg, galingale and sugar ground together.
From The Forme of Cury. (c. 1390) Edited by Samuel Pegge. (London: 1780).

TWELFTH CAKES
Take seven pounds of flour, make a cavity in the center, set a sponge with a gill and a half of yeast and a little warm milk; then put round it one pound of fresh butter broke into small lumps, one pound and a quarter of sifted sugar, four pounds and a half of currants washed and picked, half an ounce of sifted cinnamon, a quarter of an ounce of pounded cloves, mace, and nutmeg mixed, sliced candied orange or lemon peel and citron. When the sponge is risen, mix all the ingredients together with a little warm milk; let the hoops be well papered and buttered, then fill them with the mixture and bake them, and when nearly cold ice them over with sugar prepared for that purpose as per receipt; or they may be plain.
From John Mollard, The Art of Cookery. (London 1803).

ROYAL PUNCH
Take three pints of the best brandy, as much spring-water, a pint or better of the best limejuice, a pound of double refined sugar. This punch is better than weaker punch, for it does not so easily affect the head, by reason of the large quantity of lime-juice more than common, and it is more grateful and comfortable to the stomach.
From William Salmon, The Family Dictionary (London: 1711).

IMITATION PLUM CAKE ICE
Prepare a custard cream ice with six ounces of chestnut farina added to the other ingredients composing the custard, and mix therewith stoned raisins, currants, candied peels, shred pistachios, and a wine-glassful of curacoa; mould the ice in a Charlotte mould, and when dished up pour a vanilla cream ice half frozen over it.
From Charles Elmé Francatelli, The Royal Confectioner. (London: 1891 – sixth edition).

TO MAKE PLUM POTAGE
Take strong Broth of a Leg or Shin of Beef, Neck-beef, and Neck of Mutton; boil them 'till you have boil'd all the Goodness out of the Meat ; strain the Broth, and when it is cold take off all the Fat, (if you please;) then put the Crum of a quarter Loaf grated into three Gallons of Broth, or proportionable ; let the Bread steep in the Broth for an Hour, then set it on the Eire, and put in half a dozen Cloves, a Nutmeg or two, half a dozen Blades of Mace whole, and Cinnamon broken into small bits,two or three Pound of Currans, two Pound of Raisins, half a Pound of Dates ston'd and slic'd, season it with Salt, boil all gently, then put in a Quart of Canary, and a Quart of Red-port, let all boil 'till the Fruit is plump, and when you serve it up, put in a little Grape Verjuice, and Juice of Orange.
From John Nott, The Cooks and Confectioner’s Dictionary. (London; 1723).

YORKSHIRE CHRISTMAS PIE
Take a fine large turkey, a goose, a large fowl, a partridge, and a pigeon, and bone them all nicely, beat half an ounce of mace, half an ounce of nutmegs, a quarter of an ounce of cloves, half an ounce of white Pepper ground, and two large spoonsful of salt, all mixed together; open all the fowls down the back, lay the turkey on the dresser, season it is the inside, lay the goose breast downwards in the turkey, then season the goose, put in the fowl the fame way, then the partridge, then the pigeon, close them together, to make them look like a whole turkey, as well as you can; case and bone a hare, and cut it in pieces, with six woodcocks, moor game, or small wild fowl, all boned; make a bushel of flour with ten pounds of butter into a paste, as directed, make the bottom and sides very thick, and raise it as high as you can, put in some seasoning, then lay in the turkey, &c. breast uppermost, lay the hare on one fide, and the woodcocks, moor game, or wild fowl, on the other side, sprinkle seasoning over all, put four pounds of butter on the top, lay on a thick lid, ornament the sides and top, but first rub it over with the yolk of an egg, put paper over it, and bake it in a hot oven for six hours; let it stand till it is cold before you cut it. It will keep a good while.
From Richard Briggs, The English Art of Cookery. (London: 1794. Third Edition).

GOOSE PIE
Boil a small neat’s tongue till it is tender, peel it, and cut of the root and tip-end; bone a large goose and a large fowl; mix half an ounce of beaten mace with a spoonful of pepper and one of salt, season the inside of the fowl and goose, put the fowl in the goose, and the tongue in the fowl; make the hot paste, with half a peck of flour, as directed in the beginning of this chapter, raise it high, put in the goose breast uppermost, sprinkle some seasoning on it, lay on half a pound of butter, put on the lid, rub it all over with the yolk of an egg, ornament the sides and top, and bake it three hours; if it is to be eat hot, put the bones of the goose and fowl into a sauce-pan, with a quart of water, a bundle of sweet herbs, two blades of mace, a little pepper and salt, and stew it till it is above half wasted; then strain it off, and one hour before the pie is done take it out, and put the liquor in, and when it is done send it to table hot. If it is to be eat cold, put no liquor in when it is cold, cut it in slices across if you please, put it in a dish and garnish with parsley for a side dish for supper.
From Richard Briggs, The English Art of Cookery. (London: 1794. Third Edition).

YORKSHIRE, OR CHRISTMAS PIE
First, bone a turkey, a goose, a brace of young pheasants, four partridges, four woodcocks, a dozensnipes, four grouse, and four widgeons; then boil and trim a small York ham and two tongues. Season and garnish the inside of the fore-named game and poultry, as directed in the foregoing case, with long fillets of fat bacon and tongue, and French truffles; each must be carefully sewn up with a needle and small twine, so as to prevent the force-meat from escaping while they are being baked. When the whole of these are ready, line two round or oval braising-pans with thin layers of fat bacon, and after the birds have been arranged therein in neat order, and covered in with layers of bacon and buttered paper, put the lids on, and set them in the oven to bake rather slowly, for about four hours: then withdraw them, and allow them to cool.
While the foregoing is in progress, prepare some highly-seasoned aspic-jelly with the carcasses of the game and poultry, to which add six calves'-feet, and the usual complement of vegetables, &c., and when done, let it be clarified : one-half should be reduced previously to its being poured into the pie when it is baked.
Make about sixteen pounds of hot-water-paste, and use it to raise a pie of sufficient dimensions to admit of its holding the game and poultry prepared for the purpose, for making which follow the directions contained in the foregoing article. The inside of the pie must first be lined with thin layers of fat bacon, over which spread a coating of wellseasoned force-meat of fat livers; the birds should then be placed in the following order: first, put the goose at the bottom with some of the small birds round it, filling up the cavities with some of the force-meat; then, put the turkey and the pheasants with thick slices of the boiled ham between them, reserving the woodcocks and widgeons, that these may be placed on the top: fill the cavities with force-meat and truffles, and cover the whole with thin layers of fat bacon, run a little plain melted butter over the surface, cover the pie in the usual manner, and ornament it with a bold design. The pie must now be baked, for about six hours, in an oven moderately heated, and when taken out, and after the reduced aspic above alluded to has been poured into it, stop the hole up with a small piece of paste, and set it aside in the larder to become cold.
Note. - The quantity of game, &c., recommended to be used in the preparation of the foregoing pie may appear extravagant enough, but it is to be remembered that these very large pies are mostly in request at Christmas time. Their substantial aspect renders them worthy of appearing on the side-table of those wealthy epicures who are wont to keep up the good old English style, at this season of hospitality and good cheer.
From From Charles Elmé Francatelli, The Modern Cook. (London: 1846).

A GRAND SALAD
Dish first round the centre slic’d figs, then currants, capers, almonds and raisins together; next beyond that, olives, beets, cabbidge-lettice, cucumbers, or slic’t lemon carved; then oyl and vinegar beaten together, the best oyl you can get, and sugar or none, as you please; garnish the brims of the dish with orangado, slict lemon jagged, olives stuck with slic’t almonds, sugar or none.
From Robert May, The Accomplisht Cook. (London: 1660).

TO GARNISH BRAWN OR PIG BRAWN
Leach your brawn, and dish it on a plate in a fair clean dish, then put a rosemary branch on the top being first dipped in the white of an egg well beaten to a froth, or wet in water and sprinkled with flour, or a sprig of rosemary gilt with gold; the brawn spotted also with gold and silver leaves, or let your sprig be of a straight sprig of yew tree, or a straight furze bush and put about the brawn stuck round with bay-leaves three ranks round, and spotted with red and yellow jelly about the dish sides, also the same jelly and some of the brawn leached, jagged, or cut with tin moulds, and carved lemons, oranges and barberries, bay-leaves gilt, red beets, pickled barberries, pickled gooseberries, or pickled grapes.
From Robert May, The Accomplisht Cook. (London: 1660).

SWEET-SOUR TART
Take a glass of verjuice or lemon juice, with four ounces of sugar, when it has boiled to half, put it to a pot of cream, six yolks of eggs, a little butter, orange flowers, grated candied lemon peel, a little powdered cinnamon. Bake it in fine tart pastry without a cover.
From Pierre de Lune, Le Nouveau Cuisinier. Paris: 1660.

To make this delicious tart, you need to gently boil four ounces of sugar with a full wine glass of verjuice or lemon juice for about five minutes. Let this syrup cool, then mix it with a half pint of cream, six beaten egg yolks, an ounce of butter, a tablespoonful of chopped candied peel, a few finely chopped orange flowers and a pinch of powdered cinnamon. If you cannot obtain fresh orange flowers, add two teaspoons of orange flower water to the mixture. Line a tart tin with good short crust pastry and fill the case with the mixture. Bake in a moderate oven for about thirty five minutes. Do not over-cook, or the custard filling will curdle.
From John Nott’s Cooks and Confectioners Dictionary in 1723.

DRESSING C.1860

2011-12-21T06:54:00.004+11:00

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