PALETTE
FOOD STORIES FROM THE RENAISSANCE
ALICE DE LUCA
PALETTE
FOOD STORIES FROM THE RENAISSANCE
ALICE DE LUCA
Copyright @ 2019 Alice de Luca All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means electronic, mechanical, photocopying, recording or otherwise without permission of copy right holder. Phaidon Press Limited Regent's Wharf All Saints Street London N1 9PA 44 20 7843 1000
DEDICATED TO ALL FOOD, FACT, AND HISTORY LOVERS
10
I N T ROD U C T I ON
12
E Q U I P MEN T
14
I N G RED I AN TS
THE ARTS 20
T H E G U T EN B ERG P RESS
pottage 24
W I LLI AM S H AKES P EARE
marchpane 28
P ET ER B RU E G EL
acquacotta
THE SCIENCES 38
N I C H OLAS COP ERNICUS
millet pancakes 42
LE ONARD O DA V I N CI
chickpea soup 34
T H E RENAI S S AN CE
pasta
THE POWERS 50
D E MED I C I FAM I LY
gelato 54
S PAN I S H I N Q U I S T ION
paella 58
T H E ELI S AB ET H EN S
salmon pastry 64
I N D EX
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8
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FOOD STORIES FROM T H E R E N A I SSA NC E
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When thinking of the renaissance, beautiful and intricate works of art may come to mind, as well as innovative scientific discoveries. Some of the greatest powers of this earth were both triumphant or defeated. The world moved fast, change came suddenly, and the world remembers the renaissance as a time of great growth. We’ve heard the stories of how da Vinci painstakingly built the Sistine chapels, or how Gutenberg changed the world as we know it by inventing the printing press, but what about the food behind these stories? Surely, these great minds needed to be nourished. This cookbook tells these familiar tales with food as the protagonist accompanied with recipes to bring a taste of the renaissance into your modern world.
01
POT S & PAN S
02
MI X IN G U T E N SI LS
03
C U T T I N G B OAR D
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EQUIPMENT 04
M IXI N G B OWLS
05
M ORTAR & PE ST LE
06
ROLLI N G PI N
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During the Renaissance, vegetables in Italy were a staple ingrediant while cooking. Eggplant, zucchini, and greens such as chard and fennel were used–especially in soups and salads, along with appetizers. Different types of peppers, such as hot peppers, were a favorite among entrees. Onions and mushrooms were also used a lot while creating authentic Italian dishes. Fruits were used in breakfast, snacks, and desserts. Many fruits were usually eaten plain, especially when someone was in a hurry. Common fruits included berries, cherries, and apples. Grapes were used plentifully in drinks such as wine. Lemons were used liberally in many lunches and dinners. Italians squeezed lemons and used lemon shavings in the majority of their meals to season. Figs, plums, and pears were used in dessert. Wheat was quintessential and made any type of bread. The most popular were ciabatta and focaccia, which were eaten at all times of the day. Pasta, which was made of wheat, was made into different types of lengths and widths, such as spaghetti and rigatoni. Rice was also eaten, such as cornmeal and arborio. Oil, herbs, and spices were used in almost every dish during the Renaissance. Olive oil was the main oil and it was used to cook and add flavor. Herbs were used in dressings and dips, such as pesto. Oregona, marjoram, rosemary, and sage were commonly found in dishes. Mint and thyme were used in drinks and desserts. Most Italians during the Renaissance loved to eat meat. Sausages and salami were eaten daily. Sopressata, ciauscolo, and mortadella were common salamis that were eaten in antipastos. Genoa, nduja, and coppa were sausaged eaten during dinner. Due to Italy's location, fish were of abundance. Anchovies, sardines, shrimp, and squid were some of the smaller fish that people ate. Clams and mussels were popular during dinner, and was mostly incorporated into pasta dishes.
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INGREDIANTS
Why, sir, for my part I say the gentleman had drunk himself out of his f ive senses. –Shakespeare
Good wine is a good fa creature, if it be well u
amiliar used.
Why, siR foR my PaRt say the gentle man had d R u n k h imself out of his five
CHAPTER ONE
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16 ‡
guttenberg P OT TAGE S HA KES P E ARE marchpane pivveter bruegel ACQ UACOT TA
THE
ARTS ‡
17 ‡
PA L E T T E
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18 ‡
THE ARTS
Johannes Gensfleisch zur Laden zum Gutenberg (c. 1398–c. February 3, 1468) was a German metal-worker and inventor who achieved fame for his contributions to the technology of printing during 1448, including a type metal alloy and oil-based inks, a mould for casting type accurately, and a new kind of printing press based on presses used in wine-making. The exact origin of Gutenberg's first presses is apparently unknown, and several authors cite his earliest presses as adaptations of heavier binding presses which were already in use. Tradition credits him with inventing movable type in Europe–an improvement on the block printing already in use there. By combining these elements into a production system, he allowed for the rapid printing of written materials, and an information explosion in Renaissance Europe. Gutenberg was subsidized by the Archbishop of Mainz until his death. Gutenberg was also known to spend what little money he had on alcohol, so the Archbishop arranged for him to be paid in food and lodging, instead of coin. Although Gutenberg was financially unsuccessful in his lifetime, his invention spread quickly, and news and books began to travel across Europe much faster than before. It fed the growing Renaissance, and since it greatly facilitated scientific publishing, it was a major catalyst for the later scientific revolution. The ability to produce many copies of a new book, and the appearance of Greek and Latin works in printed form was a major factor in the Reformation.
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PA L E T T E
POTTAGE 14 40
THE ARTS
Carrots
1 cup, diced
Pa r s n i p s
1 cup, diced
Onions
1 cup, diced
Tu r n i p s
1 cup, diced
M u s h ro o m s
1 cup, sliced
Leeks
1 cup, diced
Cabbage
1 cup, chopped
Green Beans
1 cup, chopped
Ve g e t a b l e B ro t h Bay Leaf
2 qts 1 1/2 tsp
D r i e d T hy m e
1/2 tsp
Dried Rosemar y
1/2 tsp
B l a c k Pe p p e r
1/2 tsp
Salt
3/4 tsp
Red Wine
1/2 cup
Balsamic Vinegar
1 Tbs
Rolled Oats
1/2 cup
Barley F lakes
1/2 cup
GE RM AN Y
Rubbed Sage
DIRECTIONS Peel and chop all vegetables. Add carrots, parsnips, onions, and turnips to a large stew pot with about 1/4 cup veg broth. Saute for 10 minutes or until softened. Add mushrooms, leeks, cabbage, and beans and simmer for an additional 5 minutes. Add broth, seasoning, and wine and stir well. Bring to a boil, lower heat, and cover. Simmer for 30 minutes. Stir in barley and oats and continue simmering, uncovered, for an additional 20 minutes or until grains are cooked. Stir in vinegar, remove bay leaf, adjust seasonings, and serve.
1594
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22
ROMEO & JULIET
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S AV E M E A PIECE OF M A RC H PA N E
The dishes may have changed, but a lot less than you'd think in the 400-plus years since they were mentioned. In Romeo and Juliet, one of the servants requests that a friend set aside a piece of marchpane from the Capulets' ball. “Away with the joint-stools, remove the court cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell”. Marchpane was an early version today's marzipan. Both are made from ground almonds, sugar, and water—usually rose water. But these days, we tend to think of marzipan as just decoration—icing or something to sculpt shapes out of. In Tudor times, marchpane was a dish all on its own and was often elaborately decorated, serving as a centerpiece on a feasting table. If you wanted to “get your inner Bard on” to celebrate Shakespeare 400, marchpane is a great way to do it.
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PA L E T T E
march
PANE 15 64 ‡
24 ‡
THE ARTS
Ground Almonds
15 grams
Sugar
125 grams
Rosewater
4 tbsp
Sliced Almonds
several
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25
EN GLAN D
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DIRECTIONS Grind the almonds with a pestle and mortar, or a blender, unless already ground. Mix the almonds with the sugar. Add the tablespoons of rose water, gradually, and stir with a wooden spoon until the whole mixture becomes of a darker tinge. Shape the dough in little round balls with a sliced almond on top of each, and place on a baking tray, previously lined with baking parchment. Bake in the oven at 180° for 10 to 15 minutes. They are ready when they are a bit golden on the surface and they have hardened a little! Our Renaissance marchpane was baked, probably to make it easier for banquet guests to pick it up with their hands and eat it, as that would make it firmer. Baking it would also make it last longer. If you want to make marchpane from the Southern Italian tradition instead, you can stop at step 3 and then put the marchpane to rest in the fridge. You can then use it to cover sweets and cakes, or just eat it as it is.
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A number of Pieter Bruegel’s paintings focus on the lives of Flemish commoners, which earned him the nickname “peasant Bruegel”, as well as the misguided reputation for being of peasant birth. In Kermis and The Dirty Bride, for instance, Bruegel depicts the boisterous activities of a country fair and a folk play, respectively, paying particularly close attention to the worn costumes and broad, emphatic gestures of the celebrants. The wedding feast pictured above is dominated by the figure of the bride who, radiant and composed, presides over the table beneath a canopy. Less obvious is the identity of the bridegroom; he may be the man in black, with his back to the spectator, leaning back on his stool, mug in hand, calling for more wine. The feast is taking place in the barn, the wall behind the guests consisting of stacked-up straw or corn. Two ears of corn with a rake call to the mind work that harvesting involves. The plates are being carried around on a door taken off its hinges. The principal form of nourishment in
those day consisted of bread, porridge and soup. A common soup prepared was aquacotta. It is, at heart, a rustic peasant dish, made by boiling onions in water (instead of broth) together with whatever vegetables were available, and served over toasted slices of stale bread sprinkled with toothsome grated Pecorino cheese–a thrifty way to use up stale bread that was too hard to eat. The bread would soften in the soup and make it into a more substantial meal. The earliest versions of this soup might have been as simple as onions sauteed in olive oil, then simmered in water with a little tomato and served over the toasted bread. There is not really one true recipe for this dish since it was made with whatever was on hand, so feel free to follow the season and your preferences to come up with your own version. There are, in fact, many different types of acquacotta soup throughout Central Italy, but this particular version is from the coastal Maremma region in southern Tuscany.
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THE PEASANT WEDDING
PA L E T T E
acquacottA 15 67 ‡
28 ‡
THE ARTS
1/4 cup
Olive Oil
1 medium
Onion Fr e s h C e l e r y L e a v e s
4 large
S w i s s C h a rd
1/4 cup
Red Wine Pa s s a t a D i Po m o d o ro
1 1/2 cups 4 cups
Wa t e r S t a l e C o u n t r y B re a d
B E LG I U M
2 TB
3-4 slices
DIRECTIONS In a large Dutch oven or stockpot, heat the olive oil over medium heat. Add the sliced onion and saute until softened and lightly golden, about 5-8 minutes. Add the chopped celery leaves and chopped leafy green. Saute until the greens are wilted, about 2 minutes. Add the wine and cook until the alcohol smell has dissipated, about 1 minute. Add the tomato puree and water. Season to taste with salt and pepper. Bring to a simmer, then cover and simmer over low heat for 15-20 minutes. Toast the stale bread slices. Rub each toasted slice of bread with a clove of raw garlic, cut in half, before placing one slice in the bottom of each bowl. Ladle the soup over the toasted bread, let sit for 1-2 minutes to allow the bread to soften, then top each serving of soup with a generous grating of Pecorino (if desired) and serve.
CHAPTER TWO
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30 ‡
THE
SCIENCES
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31 ‡
renaissance S CAP P I PAS TA CO P ERN I C US scallion pancakes da vinci C H ICKP EA S O UP
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32 ‡
Pasta’s popularity is mentioned by the 14th century writer Boccaccio. In his collection of earthy tales, The Decameron, he recounts a mouthwatering fantasy concerning a mountain of Parmesan cheese down which pasta chefs roll macaroni and ravioli to gluttons waiting below. In the 1390s Franco Sacchetti, another poet and writer of tales, also tells how two friends meet up to eat macaroni. They both eat from the same dish, as was the custom of the time, but one of them has more of an appetite than the other: “Noddo started to pile the macaroni together, roll it up and swallow it down. He had sent six mouthfuls down the hatch while Giovanni’s first one was still on the fork. He did not dare put it in his mouth as the food was steaming.” What did the pasta that Noddo bolts down with such relish taste like? Throughout the Middle Ages, until the start of the 16th century, pasta dishes were markedly different from those eaten today. Not only was pasta cooked for longer—there was none of the modern-day preference for pasta al dente—it was also mixed with ingredients that would seem surprising now, often combining sweet, savory, and spicy flavors. Pasta was
considered a dish for the wealthy, taking pride of place in aristocratic banquets during the Renaissance. For example, Bartolomeo Scappi, a papal chef in the middle of the 16th century, created a third course for a banquet consisting of boiled chicken accompanied with ravioli filled with a paste made of boiled pork belly, cow udders, roast pork, Parmesan cheese, fresh cheese, sugar, herbs, spices, and raisins. Scappi’s recipe for maccheroni alla romanesca was similarly elaborate. Flour and breadcrumb dough was mixed with goat’s milk and egg yolk and flattened into a sheet, which was then cut into thin strips with a roller cutter (bussolo), to make the noodles. After being left to dry, the macaroni was boiled for half an hour, strained and covered with grated cheese, slices of butter, sugar, cinnamon and pieces of provatura, a Roman variant of mozzarella cheese. Finally, the dish baked in the oven for half an hour with a little rose water so the cheese would melt, while the macaroni was imbued with the flavor of the spices. It is no surprise that another 16th-century author, Giulio Cesare Croce, put macaroni on his list of “fattening dishes.”
HE H AD SE N T SIX M OUTHFULS O F M ACARO NI DOW N THE HATC H W H ILE GIOVAN N I’ S FIR ST O N E WAS STILL O N THE FO R K.
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PA L E T T E
scappi
ITA LY
PASTA
THE SCIENCES
F lour Egg Te p i d Wa t e r
250 grams 1 4 tbsp
DIRECTIONS Work two pounds of flour, three eggs and warm water into a dough, kneading it on a table for a quarter of an hour. Roll it out hin with a pin and let the sheet of dough dry a little. With a cutting wheel trim away the irregular parts, the fringes. When it has dried, though not too much because it would break up, sprinkle it with flour through the sifter so it will not stick. Then take the rolling pin and, beginning at one end, wrap the whole sheet loosely onto the pin, draw the pin out and cut the rolled-up dough crosswise with a broad, thin knife. When they are cut, broaden them. Let them dry out a little and,
when they are dry, filter off the excess flour through a sieve. Make up a soup of them with a fat meat broth, or milk and butter. When they are cooked, serve them hot with cheese, sugar and cinnamon. If you want to make lasagne of them, cut the dough legthwise on the pin, and and likewise divide it lengthwise in two, and cut that into little squares. Cook them in the broth of a hare, a crane or some other meat, or in milk. Serve them hot with cheese, sugar and cinnamon.
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PA L E T T E
THE SCIENCES
Nicolaus Copernicus (Mikołaj Kopernik) is one of Poland’s favorite Polish Sons. He is most noted for his Heliocentric Model of our planetary system theorizing that our Sun rather than the Earth was at the center of our solar system. He was born the 19th of February 1473 in the city of Toruń, and died at age 70 on May 24th 1543 in Frombork, Kingdom of Poland. He studied at universities in both Poland and Italy, and in addition to his works in astronomy he was a non-liturgical canon, mathematician, and physician. But, what did Copernicus like to eat? Polish cuisine has had may influences during its history of ever changing borders and political alliances. In the time of Copernicus, a period during the Middle Ages transitioning toward the Renaissance, people of means ate rather well. Millet was a mainstay of Polish cooking throughout the various regions. Archaeological evidence using carbon dating has pointed to rye, buckwheat, wheat, barley, and especially millet as the predominant grain sources used during the
period. Pork and chicken were the most commonly consumed meats followed by beef. Large game was not a big source of meat for most as hunting was reserved for the royals. As for plant matter a wide variety of vegetables were eaten regularly and usually always cooked, even greens. Root vegetables were a staple as they could be used during the winter. Potatoes were not introduced into Polish cuisine until later in the seventeenth century. Fruits were eaten both raw and cooked. As for beverages, water was of poor quality so beer, mead, and wine were the most common drinks, Polish Wheat Beer was most popular. There were many fine medieval breweries throughout Poland. Back to millet, millet was prepared in soups, as gruel or porridge as well as fried, and also served as a side dish like rice or fried rice. Rice was expensive and was cherished by the wealthy. Kasza was flavored with mushrooms, fruits, meats and a variety of broths.
PA L E T T E
millet
PANCAKES 15 43
THE SCIENCES
Millet
1 cup
Wa t e r
2 cups 2 tsp
Salt
1 tbsp
Butter
2 large
Eggs
3 oz
Butter Milk
3 tbsp
F lour
6 large
PO LAND
Scallions
DIRECTIONS Cook millet on medium low heat 15–20 minutes. Fluff millet and spread on a sheet pan to cool. In a bowl whisk buttermilk, eggs, salt, and flour. Fold in cooled millet and 3/4 of scallions. Spoon millet batter into heated pan with oil on medium high heat and press thin. Cook about 3–4 minutes per side or until golden brown and crispy. Drain on plate with paper towels, keep warm. Serve with wild mushroom sauce or a dollop of sour cream.
PA L E T T E
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4040 ‡‡
LA ZUPPA SI STA RAFFRED DANDO 1 5 19
THE S OU P I S G E T TING C OLD
THE SCIENCES
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41 ‡ There are references in da Vanci’s notes to meat purchases, which must have been for his non-vegetarian students. Although a confirmed vegetarian, he invented a machine that could grind sausage meat, which Bartolomeo Scappi—a famous Renaissance chef—in his book Opera (1570) said: “He invented a pit with a propeller that turned in the heat fire.” This automated invention was animated by the process of hot air rising which turns the propellers, turning the spit. Da Vinci endorsed his new automated product by saying “This is a way to cook meat… since the roast will turn slowly or quickly depending whether the fire is strong or weak.” When courting royalty and religious patrons at their castles and affairs da Vinci would dine on green salads, fish fruit, vegetables, bread, mushrooms, cereal, and pasta. He also loved chickpea soup which he called la minestra, and which he liked served nice and hot. While writing and drawing in his notebook, he ends sentences with an “et cetera”—which means in Latin: and other things—and upon returning to the page he explains why he stopped, “it is because my la minsetra is getting cold.”
PA L E T T E
chickpea
SOUP 15 58
THE SCIENCES
Cooked Cannellini Beans Swiss Chard
1 cup 10 oz, cut into strips
Zucchinis
3 medium, quarter-inch slices
Ye l l o w O n i o n s
2, f inely chopped
Garlic
5 medium cloves
R e d To m a t o e s Carrots
4, cut into chunks 2, diced
Crisp Celer y
4 stalks, diced
S a v oy C a b b a g e Po t a t o e s
4 leaves, cut into strips 3, cut into chunks
Olive Oil
ITALY
Ve g e t a b l e B o u i l l o n
2 cups
DIRECTIONS Slowly saute the garlic, celery, carrots, and onions in olive oil until the onions are translucent. Add all other vegetables, one cup of the bouillon or broth, and a touch of freshly ground black pepper. Cook on low flame, stirring frequently but gently. Add more broth if needed and drop in the rind of cheese if you’re using it. Simmer for at least 3 hours, until the ingredients merge. Add the beans, rice or pasta 10 minutes before serving. Then you can sprinkle the soup with grated cheese and garnish with fresh basil and oregano.
PRoPRio c cibo m senza a è un a noioso, c studio zelo da la memo assimilan che assoR
come il mangiato aPPetito limento così lo senza anneggia oRia non do ciò Rbe. Just as food eaten without appetite is a tedious nourishment, so does study without zeal damage the memory by not assimilating what it absorbs.
–Leonardo da Vinci
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THE
POWERS
de medici family GELATO SPAN I SH I NQ UIS I T ION paella elisabethen SALMON PA S T RY
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CHAPTER THREE
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The Medici family, also known as the House of Medici, first attained wealth and political power in Florence in the 13th century through its success in commerce and banking. Beginning in 1434 with the rise to power of Cosimo de’ Medici (or Cosimo the Elder), the family’s support of the arts and humanities made Florence into the cradle of the Renaissance, a cultural flowering rivaled only by that of ancient Greece. The Medicis produced four popes (Leo X, Clement VII, Pius IV and Leo XI), and their genes have been mixed into many of Europe’s royal families. The last Medici ruler died without a male heir in 1737, ending the family dynasty after almost three centuries. Your gelato is your status symbol, and no one knew this better than Catherine de’ Medici. It was she who introduced gelato, served to the courts in France as a means of impressing the nobility with this
novel Florentine delicacy. But who created the recipe? There are conflicting accounts, but what is certain is that it came from Florence and was made for the Medici. The most common story I can find is the tale of a 16th century poultry butcher named Ruggeri, who entered a competition by the Medici for the “most unusual dish”. He presented something icy and sugared with a tempting perfume, and young Catherine took a great liking to the dessert. She took him with her to Paris and served his creation at her grand wedding, after which he begged to return home to his chickens. Alternative credits go to a man named Buontalenti, also from the 16th century, who served an indulgent gelato with honey, bergamot, lemon, and orange for Cosimo de’ Medici at the opening of the Fortezza di Belvedere. You can find this flavour even now, named after the man who made it.
48 ‡
WHEN IN ITALY, EAT GELATO AS THE ITALIANS DO
Quando in Italia, mangia il gelato come fanno gli italiani
PA L E T T E
GELATO 15 50
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50 ‡
THE POWERS
W hole Milk
20 fluid oz
Va n i l l a E x t r a c t
3 tsp
S k i m m e d M i l k Po w d e r
2 oz 4
E g g Yo l k s
3 oz
Fine Sugar
I TA LY
DIRECTIONS Gather the ingredients. Warm the milk in a large saucepan with one teaspoon of vanilla extract and two teaspoons of the sugar and the milk powder. Stir well to ensure everything is incorporated. Lower the heat, simmer for five minutes, remove from the heat, and leave to infuse while you prepare the remaining ingredients. Place the egg yolks into the bowl of a stand mixer with the sugar and vanilla extract and whisk for at least 10 minutes until the eggs are light, fluffy, and increased in volume. Put a mixing bowl large enough to hold the custard into the freeze or chill right down with ice cubes. Gently reheat the milk to warm– but not hot or boiling as you risk curdling the custard. With the mixer running on medium speed, slowly and gently pour the liquid over the beaten eggs; take your time and do not rush this process. Return the custard to the milk pan, place over low heat and stirring continuously to
cook slowly and gently until the mixture has thickened enough to coat the back of a metal spoon. Pour the custard into the chilled down bowl and continue to stir until the custard is cold enough to put back into the refrigerator. Cut a circle of greaseproof paper and lay this on the surface of the custard (this prevents a skin forming). Put the custard into the freezer for thirty minutes. Take it out and beat with either a fork, hand whisk, or electric hand mixer to break the custard down to a smooth consistency. Do this three or four times every thirty minutes, then store the ice cream in a plastic tub with a well fitting lid. Remove the ice cream from the refrigerator 10 minutes before serving.
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There is division even over the origins of the word itself. Some say it is from the Latin for “pan” and others that it is from the Arabic for “leftovers”. It served a function beyond mere food when Spain was more seriously fractured during the time ofthe country’s expulsion of the Moors and Jews in the 16th century. During the Spanish Inquisition, village feasts were organised where great quantities of paella were served. (still a tradition in rural Spain). What had been a simple concoction of rice and vegetables with rabbit or chicken became a culinary shibboleth. Mussels and other shellfish plus sliced sausages of pork were added to the dish. Those who would not eat were carefully observed. Moors trying to hide their identities would not eat a meal containing pork and Jews rejected the shellfish, and so they were exposed to persecution and eviction.
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THE SPANISH INQUISITION
PA L E T T E
PAELLA 14 78 ‡
54 ‡
THE POWERS
Garlic
3 cloves
Onion
1/2
R e d B e l l Pe p p e r
1/2
Squid
1 cleaned tube
Extra V irgin Spanish Olive Oil
1/3 cup
To m a t o P u re e
1/2 cup
S m o k e d Pa p r i k a
1/2 tsp
Sea Salt
2 1/2 cups
B l a c k Pe p p e r Fish Broth S p a n i s h S a f f ro n i n Po w d e r Fo r m Round Rice
1 sachet 1 cup
Jumbo Shrimp
12 raw
Fr e s h M u s s e l s
8
Fr e s h Pa r s l e y
S PA IN
Lemon DIRECTIONS Heat a frying pan with a medium-high heat and add 1/3 cup of extra virgin Spanish olive oil, once the oil get's hot season it with sea salt and add the cut squid into the pan. Cook for 2 minutes, then remove the squid from the pan and set it aside. Add the onions and garlic into the pan. Cook for 1 minute. Add the red bell pepper, mix and cook for 3 minutes, then add 1/2 cup of tomato puree, season everything with 1/2 teaspoon of smoked paprika, a pinch of sea salt and a hint of freshly cracked black pepper. Continue to cook for 2 minutes, then add the squid back into the pan. Add 2 1/2 cups of fish broth and the saffron, gently mix everything together. Once the broth comes to a boil, add 1 cup of round rice to the pan and then gently distribute the rice throughout the pan with a wooden spoon, do not mix the rice, after 5 minutes of cooking add the shrimp and the mussels, cook for another 5 minutes and then lower the fire to a low-medium heat. After simmering for 10 minutes, turn the fire back to a medium-high heat for 1 minute. Then turn off the heat, cover the paella pan completely and let it rest between 5-7 minutes. Uncover the paella, garnish with freshly chopped parsley and a couple of lemon wedges.
PA L E T T E
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56 ‡
Poor people during Elizabethen England could not afford much red meat, like beef or pork, so tended to eat white meat, like chicken, rabbit or hare, and birds they could catch like blackbirds or pigeons. As Queen Elizabeth made a law in 1563 that compelled everyone to eat fish on Wednesdays, Fridays and Saturdays, the poor also regularly ate fish. This law was made to support the fishing industry. Disobeying the law could mean up to three months in jail! In the words of an Act of 1563 fish days were ‘for the better maintenance and increase of the Navy…and not for any superstition…(nor) for the saving of the soul of man’ – as they had been in the previous reign. In the 1588 Armada crisis, only 34 ships out of the total English fleet of 226 belonged to the Queen. All the rest were merchantmen manned by fishermen and Thames watermen, with other civilian mariners. So the fishermen were kept in employment by all this fish eating.
THE POWERS
THE STOMACH OF A KING ‡
57 ‡
I K NOW I H AV E THE BODY OF A W E A K A ND FEEB LE WOM A N , BUT I H AV E THE HE A RT A ND S TOM AC H OF A K ING
PA L E T T E
salmon
PASTRY ‡
58 ‡
15 58
THE POWERS
P u f f Pa s t r y Artichoke Bottoms
3
Salmon Fillet
1
Salt
1 tsp
B l a c k Pe p p e r
1/2 tsp
G r o u n d Nu t m e g
1 /2 tsp
Oysters
1 dozen
Asparagus
12
Gooseberries
24
Pistachio
1/4 cup
Egg
1 large
Lemons
3
‡
59
E NG LAND
‡
DIRECTIONS Roll out slightly less than one-half of the dough into a 5 by 13 inch rectangle about 1/4 inch thick and place on a parchment-lined baking sheet. Place the artichokes in a long line down the center of the crust. Sprinkle the salmon with the salt, pepper, and nutmeg and place over the artichokes. Arrange the oysters, asparagus, green grapes, and coarsely chopped pistachios over the salmon. Roll out the remaining dough into a 5 by 13 inch rectangle and place on top of the ingredients. Trim the dough into the shape of a fish and pinch the edges to seal. Using the excess dough, add fish details, such as an eye or fin. Using a teaspoon, imprint scale and tail marks on the dough, being careful not to cut through the dough. Brush with the egg and refrigerate for at least 30 minutes. Preheat the oven to 350° F. Bake the salmon for 40 minutes, or until golden brown. Serve with lemon wedges.
Good s a fa m i l cReatuR be well
wine good l i a R Re, if it l used. Good wine is a good familiar creature, if it be well used. –Shakespeare
A Almonds Artichoke Asparagus
B 57 57
C Carrots Cabbage Cannellini
Brueghel Bread Butter Bouillon
23
D 19, 41 19, 41 41
David Dutch Oven
11 27 37 41
E 18 27
Egg
33, 37, 49, 57
‥
62 ‥
G Gutenberg Green beans Garlic Gooseberry
L 17 19 41, 53 57
Leeks Lemons
M 19 57
Mushroom Marchpane Millet Mussels
INDEX
19 20 37 53
O Onion Olive Oil Oysters
P 27, 41 57
S
R Russell Romeo Rosewater
Parsnip Potatoes Paprika Parsley Pistachio
19, 27, 41,
19 20 23
Sage Sugar Scallion Sea Salt Saffron
19 41 53 53 57
T 19 23, 49 37 53, 57
Turnips Thyme Tomatoes
19 19 41
53
‡
63 ‡
N Nutmeg
57
This book was designed by Meagan Floris. It was edited and set into type in the United States, and was printed and bound by Image Ink in San Francisco, California. The publisher and author named in the book are for fictitious use only. The text is set in Adobe Caslon Pro. The headings are set in English Grotesque. The display face is Traviata. Paper used in the book is Red River Premium Double side 50#.
Photographs used are digital renderings of painting from a variety of artists from the 15th, 16th, and 17th century. Artists include: Louise Moillon Elsie Russell Vincenzo Campi Jan Brueghel The Elder Gerard David Niklaus Manuel Deutsch Georgios Kollidas Jan Victors Eleanor Fortescue-Brickdale Leandro Bassano
Pieter Bruegel The Elder Jeffrey Fallejo Luca Giordano Leonardo Da Vinci George Vertue Sauvage Solomon A. Hart William Segar Balthasar Van Der Ast
The written content is a compilation of data taken from: sheppardsoftware.com brandnewvegan.com nicoandamysliterarykitchen.com food52.com homemade-dessert-recipes.com wga.hu thespruceeats.com coquinaria.nl
polishfoodutica.com pamelapoole.com medicidynasty.com theguardian.com spainonafork.com elizabethi.org bl.uk
This is a student project only, produced for a class assignment at the Academy of Art University, located in San Francisco, California. No part of this book or any other part of the project was produced for commerical use.
THINGS SWEET TO TASTE PROVE IN DIGESTION SOUR
When thinking of the renaissance, beautiful and intricate works of art may come to mind, as well as innovative scientific discoveries. Some of the greatest powers of this earth were both triumphant or defeated. The world moved fast, change came suddenly, and the world remembers the renaissance as a time of great growth. We’ve heard the stories of how da Vinci
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painstakingly built the Sistine chapels, or how Gutenberg changed the world as we know it by inventing the printing press, but what about the food behind these stories? Surely, these great minds needed to be nourished. This cookbook tells these familiar tales with food as the protagonist accompanied with recipes to bring a taste of the renaissance into your modern world.