Why Ancient Egyptian Honey Remains Edible After 3,000 Years

The glob­al bee pop­u­la­tion comes up in the news every now and again. Some­times we’re assured that the num­ber is sta­ble or ris­ing; more often, we’re warned about col­laps­ing colonies and the large-scale eco­log­i­cal dis­as­ter that could result. As with most high-stakes issues, it can be dif­fi­cult to know what to believe. But even if you lack the time to invest in an under­stand­ing of the sci­ence behind the com­plex con­nec­tions between api­an and human wel­fare, you can eas­i­ly come to appre­ci­ate the impor­tance of bees if you learn just how long they’ve played a role in our civ­i­liza­tion.

As Elana Spi­vack writes at History.com, “a cave paint­ing in north­east­ern Spain depict­ing a human har­vest­ing hon­ey dates back 7,500 years to the Neolith­ic peri­od, accord­ing to research pub­lished in 2021 in the jour­nal Tra­ba­jos de Pre­his­to­ria.” Just last year, a paper in the Jour­nal of the Amer­i­can Chem­i­cal Soci­ety con­firmed that bronze con­tain­ers dis­cov­ered in an under­ground shrine in a sixth-cen­tu­ry-BC Greek set­tle­ment not far from Pom­peii con­tained a residue of hon­ey. We’ve long known of hiero­glyphs from ancient Egypt that depict bees and the keep­ing there­of; “accord­ing to a 2022 paper in the jour­nal Ani­mals, the use of hon­ey­bees in the Nile Val­ley can be traced to the ear­li­est years of the Egypt­ian king­dom.”

Here in the twen­ty-first cen­tu­ry, most of us regard hon­ey as noth­ing more than a rel­a­tive­ly healthy sweet­en­er. In ancient Egypt, too, it was used to improve the taste of their bread and beer, but it was also put to impor­tant med­ical uses. “Because it’s so thick, rejects any kind of growth and con­tains hydro­gen per­ox­ide, it cre­ates the per­fect bar­ri­er against infec­tion for wounds,” writes Smith­son­ian’s Natasha Geil­ing. “The ancient Egyp­tians used med­i­c­i­nal hon­ey reg­u­lar­ly, mak­ing oint­ments to treat skin and eye dis­eases.” They may not have been the first to do so, giv­en that the ear­li­est known uses of hon­ey are record­ed on Sumer­ian clay tablets, but they took respect for the stuff to a whole new lev­el, describ­ing hon­ey­bees as orig­i­nat­ing from the tears of their sun god Re (for­mer­ly known in the Eng­lish-speak­ing world as Ra).

That par­tic­u­lar piece of mythol­o­gy is record­ed on some Egypt­ian papyri; oth­ers reveal how much hon­ey was rationed to work­ers, at least those employed direct­ly by the Pharaoh. In those days, the sub­stance’s gold­en col­or reflect­ed its dear­ness, and it seems that com­mon labor­ers and their fam­i­lies could go a life­time with­out ever tast­ing a spoon­ful them­selves. Today, of course, we take it for grant­ed that we can go down to the super­mar­ket and cheap­ly buy an econ­o­my-size tub of hon­ey that nev­er goes bad. But then, ancient Egypt­ian hon­ey has nev­er gone bad either: thanks to the very same chem­i­cal and bio­log­i­cal prop­er­ties that made it use­ful for heal­ing, the sealed jars of it remain the­o­ret­i­cal­ly edi­ble even after 3,000 years. Driz­zle it on some gen­uine Greek yogurt, and you’ve got a large swath of the his­to­ry of civ­i­liza­tion in break­fast form.

via Boing Boing/Smith­son­ian

Relat­ed con­tent:

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

How Egypt­ian Papyrus Is Made: Watch Arti­sans Keep a 5,000-Year-Old Art Alive

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Orig­i­nal Col­ors Still In It

How Sci­en­tists Recre­at­ed Ancient Egypt’s Long-Lost Pig­ment, “Egypt­ian Blue”

Behold 1,600-Year-Old Egypt­ian Socks Made with Nål­bind­ning, an Ancient Pro­to-Knit­ting Tech­nique

How Did the Egyp­tians Make Mum­mies? An Ani­mat­ed Intro­duc­tion to the Ancient Art of Mum­mi­fi­ca­tion

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Futurist Cookbook (1930) Tried to Turn Italian Cuisine into Modern Art

With the sav­age cuts in arts fund­ing, per­haps we’ll return to a sys­tem of noblesse oblige famil­iar to stu­dents of The Gild­ed Age, when artists need­ed inde­pen­dent wealth or patron­age, and wealthy indus­tri­al­ists often decid­ed what was art, and what wasn’t. Unlike fine art, how­ev­er, haute cui­sine has always relied on the patron­age of wealthy donors—or din­ers. It can be mar­ket­ed in pre­made pieces, sold in cook­books, and made to look easy on TV, but for rea­sons both cul­tur­al and prac­ti­cal, giv­en the nature of food, an exquis­ite­ly-pre­pared dish can only be made acces­si­ble to a select few.

Still, we would be mis­tak­en, sug­gest­ed Futur­ist poet and the­o­rist F.T. Marinet­ti (1876–1944), should we neglect to see cook­ing as an art form akin to all the oth­ers in its moral and intel­lec­tu­al influ­ence on us. While hard­ly the first or the last artist to pub­lish a cook­book, Marinetti’s Futur­ist Cook­book seems at first glance dead­ly, even aggres­sive­ly, seri­ous, lack­ing the whim­sy, imprac­ti­cal weird­ness, and sur­re­al­ist art of Sal­vador Dali’s Les Din­ers de Gala, for exam­ple, or the eclec­tic wist­ful­ness of the MoMA’s Artist’s Cook­book.

Just as he had sought with his ear­li­er Futur­ist Man­i­festo to rev­o­lu­tion­ize art, Marinet­ti intend­ed his cook­book to foment a “rev­o­lu­tion of cui­sine,” as Alex Rev­el­li Sori­ni and Susan­na Cuti­ni point out. You might even call it an act of war when it came to cer­tain sta­ples of Ital­ian eat­ing, like pas­ta, which he thought respon­si­ble for “slug­gish­ness, pes­simism, nos­tal­gic inac­tiv­i­ty, and neu­tral­ism” (antic­i­pat­ing scads of low and no-carb diets to come).

Believ­ing that peo­ple “think, dream and act accord­ing to what they eat and drink,” Marinet­ti for­mu­lat­ed strict rules not only for the prepa­ra­tion of food, but also the serv­ing and eat­ing of it, going so far as to call for abol­ish­ing the knife and fork. A short excerpt from his intro­duc­tion shows him apply­ing to food the tech­no-roman­ti­cism of his Futur­ist theory—an ethos tak­en up by Ben­i­to Mus­soli­ni, whom Marinet­ti sup­port­ed:

The Futur­ist culi­nary rev­o­lu­tion … has the lofty, noble and uni­ver­sal­ly expe­di­ent aim of chang­ing rad­i­cal­ly the eat­ing habits of our race, strength­en­ing it, dynamiz­ing it and spir­i­tu­al­iz­ing it with brand-new food com­bi­na­tions in which exper­i­ment, intel­li­gence and imag­i­na­tion will eco­nom­i­cal­ly take the place of quan­ti­ty, banal­i­ty, rep­e­ti­tion and expense.

In hind­sight, the fas­cist over­tones in Marinetti’s lan­guage seem glar­ing. In 1932, when the Futur­ist Cook­book was pub­lished, his Futur­ism seemed like a much-need­ed “jolt to all the prac­ti­cal and intel­lec­tu­al activ­i­ties,” note Sori­ni and Cuti­ni.  “The sub­ject [of cook­ing] need­ed a good shake to reawak­en its spir­it.” And that’s just what it got. The Futur­ist Cook­book act­ed as “a pre­view of Ital­ian-style Nou­velle Cui­sine,” with such inno­va­tions as “addi­tives and preser­v­a­tives added to food, or using tech­no­log­i­cal tools in the kitchen to mince, pul­ver­ize, and emul­si­fy.”

Yet, for all the high seri­ous­ness with which Marinet­ti seems to treat his sub­ject, “what the media missed” at the time, writes Maria Popo­va, “was that the cook­book was arguably the great­est artis­tic prank of the twen­ti­eth cen­tu­ry.” In an intro­duc­tion to the 1989 edi­tion, British jour­nal­ist and his­to­ri­an Les­ley Cham­ber­lain called the Futur­ist Cook­book “a seri­ous joke, rev­o­lu­tion­ary in the first instance because it over­turned with rib­ald laugh­ter every­thing ‘food’ and ‘cook­books’ held sacred.” Marinet­ti first swept away tra­di­tion in favor of cre­ative din­ing events the Futur­ists called “aer­oban­quets,” such as one in Bologna in 1931 with a table shaped like an air­plane and dish­es called “spicy air­port” (Olivi­er sal­ad) and “ris­ing thun­der” (orange risot­to). Lam­br­us­co wine was served in gas cans.

It’s per­for­mance art wor­thy of Dal­i’s bizarre cos­tumed din­ner par­ties, but fueled by a gen­uine desire to rev­o­lu­tion­ize food, if not the actu­al eat­ing of it, by “bring­ing togeth­er ele­ments sep­a­rat­ed by bias­es that have no true foun­da­tion.” So remarked French chef Jules Main­cave, a 1914 con­vert to Futur­ism and inspi­ra­tion for what Marinet­ti calls “flex­i­ble fla­vor­ful com­bi­na­tions.” See sev­er­al such recipes excerpt­ed from the Futur­ist Cook­book at Brain Pick­ings, read the full book in Ital­ian here, and, just below, see Marinetti’s rules for the per­fect meal, first pub­lished in 1930 as the “Man­i­festo of Futur­ist Cui­sine.”

Futur­ist cui­sine and rules for the per­fect lunch

1. An orig­i­nal har­mo­ny of the table (crys­tal ware, crock­ery and glass­ware, dec­o­ra­tion) with the fla­vors and col­ors of the dish­es.

2. Utter orig­i­nal­i­ty in the dish­es.

3. The inven­tion of flex­i­ble fla­vor­ful com­bi­na­tions (edi­ble plas­tic com­plex), whose orig­i­nal har­mo­ny of form and col­or feeds the eyes and awak­ens the imag­i­na­tion before tempt­ing the lips.

4. The abo­li­tion of knife and fork in favor of flex­i­ble com­bi­na­tions that can deliv­er prelabi­al tac­tile enjoy­ment.

5. The use of the art of per­fumery to enhance taste. Each dish must be pre­ced­ed by a per­fume that will be removed from the table using fans.

6. A lim­it­ed use of music in the inter­vals between one dish and the next, so as not to dis­tract the sen­si­tiv­i­ty of the tongue and the palate and serves to elim­i­nate the fla­vor enjoyed, restor­ing a clean slate for tast­ing.

7. Abo­li­tion of ora­to­ry and pol­i­tics at the table.

8. Mea­sured use of poet­ry and music as unex­pect­ed ingre­di­ents to awak­en the fla­vors of a giv­en dish with their sen­su­al inten­si­ty.

9. Rapid pre­sen­ta­tion between one dish and the next, before the nos­trils and the eyes of the din­ner guests, of the few dish­es that they will eat, and oth­ers that they will not, to facil­i­tate curios­i­ty, sur­prise, and imag­i­na­tion.

10. The cre­ation of simul­ta­ne­ous and chang­ing morsels that con­tain ten, twen­ty fla­vors to be tast­ed in a few moments. These morsels will also serve the ana­log func­tion […] of sum­ma­riz­ing an entire area of life, the course of a love affair, or an entire voy­age to the Far East.

11. A sup­ply of sci­en­tif­ic tools in the kitchen: ozone machines that will impart the scent of ozone to liq­uids and dish­es; lamps to emit ultra­vi­o­let rays; elec­trolyz­ers to decom­pose extract­ed juices etc. in order to use a known prod­uct to achieve a new prod­uct with new prop­er­ties; col­loidal mills that can be used to pul­ver­ize flours, dried fruit and nuts, spices, etc.; dis­till­ing devices using ordi­nary pres­sure or a vac­u­um, cen­trifuge auto­claves, dial­y­sis machines.

The use of this equip­ment must be sci­en­tif­ic, avoid­ing the error of allow­ing dish­es to cook in steam pres­sure cook­ers, which leads to the destruc­tion of active sub­stances (vit­a­mins, etc.) due to the high tem­per­a­tures. Chem­i­cal indi­ca­tors will check if the sauce is acidic or basic and will serve to cor­rect any errors that may occur: lack of salt, too much vine­gar, too much pep­per, too sweet.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent

When Ital­ian Futur­ists Declared War on Pas­ta (1930)

Sal­vador Dalí’s 1973 Cook­book Gets Reis­sued: Sur­re­al­ist Art Meets Haute Cui­sine

MoMA’s Artists’ Cook­book (1978) Reveals the Meals of Sal­vador Dalí, Willem de Koon­ing, Andy Warhol, Louise Bour­geois & More

The Artists’ and Writ­ers’ Cook­book Col­lects Recipes From T.C. Boyle, Mari­na Abramović, Neil Gaiman, Joyce Car­ol Oates & More

Josh Jones is a writer and musi­cian based in Durham, NC. 

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Inside the Automats Where Coin-Operated Machines Created a Modern, Democratic Dining Experience

“Good evening,” said Alfred Hitch­cock to the tele­vi­sion view­ers of Amer­i­ca on March 25, 1959. “Tonight I’m din­ing at my favorite club. There are many advan­tages here. As you can see, infor­mal­i­ty is the rule. There is also the stim­u­la­tion of intel­lec­tu­al com­pan­ion­ship with­out the deaf­en­ing qui­et that per­vades most clubs. Best of all, I like its pri­va­cy: only four per­sons are allowed at a table, and, of course, no one pays any atten­tion to you.” This was an exam­ple of the dead­pan irony with which the film­mak­er intro­duced each broad­cast of Alfred Hitch­cock Presents, for the “club” of which he spoke was clear­ly an automat. Today, many read­ers under about 50 will nev­er have heard the word, but at the time, it referred to a seem­ing­ly per­ma­nent insti­tu­tion in Amer­i­can life.

Or rather, an insti­tu­tion of urban Amer­i­can life, and above all in two cities, Philadel­phia and New York. There, no one could think of automats with­out think­ing of Horn & Hardart, in its hey­day the largest restau­rant chain in the world. The con­cept, which co-founder Joseph Horn import­ed over from Berlin in the ear­ly nine­teen-tens, was of a restau­rant with no wait­ers: rather, you could choose your dish à la carte from a wall of coin-oper­at­ed com­part­ments, pay­ing the nick­el or two that would allow you to take the food inside.

Sal­is­bury steak, creamed spinach, baked beans, a ham-and-cheese sand­wich, mac­a­roni and cheese, choco­late pud­ding, straw­ber­ry rhubarb pie: what­ev­er it was, the behind-the-scenes staff would replace it just as soon as you put the last one on your tray.

Smack of moder­ni­ty though it once did (and in a way, still does), the term automat is some­what mis­lead­ing. We might describe the expe­ri­ence of vis­it­ing one as din­ing inside a giant vend­ing machine, but the actu­al run­ning of the oper­a­tion was quite labor-inten­sive. Most of the work was per­formed out of the cus­tomer’s sight, as far away as in the large cen­tral com­mis­saries that pre­pared many of the dish­es to be trans­port­ed dai­ly to Horn & Hardart’s 88 loca­tions. This sheer scale of oper­a­tion allowed the chain to offer some of the cheap­est meals com­mer­cial­ly avail­able, with the result that its automats boomed even — indeed, espe­cial­ly — dur­ing the Great Depres­sion. Their eco­nom­ic bar­ri­er was low, and of sex and race, nonex­is­tent; those who remem­ber them describe them becom­ing some of the most demo­c­ra­t­ic insti­tu­tions in post­war Amer­i­ca.

You can hear such mem­o­ries recalled in the recent doc­u­men­tary The Automat by fig­ures like Ruth Bad­er Gins­burg, Col­in Pow­ell, and Mel Brooks, who rhap­sodizes about Horn & Hardart’s cof­fee, dis­pensed for just a nick­el from elab­o­rate dol­phin-head­ed spig­ots. That degree of detail was stan­dard in the inte­ri­ors, whose mar­ble, chrome, and glass look pala­tial by the stan­dards of the fast-food joints that ulti­mate­ly replaced the automat. That glo­ry was one casu­al­ty of post­war sub­ur­ban­iza­tion and hol­low­ing-out of cen­tral cities that result­ed. What with the Amer­i­can urban renais­sance of the past few decades, attempts have been made to revive the automat con­cept, but per­haps, as Brooks puts it, “the logis­tics and the eco­nom­ics of today won’t allow any­thing that sim­ple, naïve, and elo­quent and beau­ti­ful to flour­ish again.” Order­ing a meal brought straight to your door may be more con­ve­nient, but even deliv­ery-app addicts have to admit that it will nev­er have the same romance.

Relat­ed con­tent:

Slot Machine Age: A 1964 British News­reel Angsts Over Whether Auto­mat­ed Machines Will Dis­place Peo­ple

How Edward Hopper’s Paint­ings Inspired the Creepy Sus­pense of Alfred Hitchcock’s Rear Win­dow

Watch the “Bib­lio-Mat” Book-Vend­ing Machine Dis­pense Lit­er­ary Delight

Behold the Art-o-Mat: Vin­tage Cig­a­rette Vend­ing Machines Get Repur­posed & Dis­pense Works of Art

How Fast Food Began: The His­to­ry of This Thor­ough­ly Amer­i­can (and Now Glob­al) Form of Din­ing

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How to Make Coffee in the Bialetti Moka Pot: The “Ultimate Techique”

In Italy, rough­ly 70% of house­holds have a Bialet­ti Moka Pot. And chances are you have one too. But are you using it the right way? Prob­a­bly not, says James Hoff­mann, the author of The World Atlas of Cof­feeAbove, he sets the record straight, demon­strat­ing the best tech­nique for mak­ing a great cup of cof­fee. Enjoy this pub­lic ser­vice announce­ment and use it well.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent

The Bialet­ti Moka Express: The His­to­ry of Italy’s Icon­ic Cof­fee Mak­er, and How to Use It the Right Way

Deep Fried Cof­fee: A Very Dis­turb­ing Dis­cov­ery

Life and Death of an Espres­so Shot in Super Slow Motion

The Birth of Espres­so: How the Cof­fee Shots The Fuel Our Mod­ern Life Were Invent­ed

An Espres­so Mak­er Made in Le Corbusier’s Bru­tal­ist Archi­tec­tur­al Style: Raw Con­crete on the Out­side, High-End Parts on the Inside

Philoso­phers Drink­ing Cof­fee: The Exces­sive Habits of Kant, Voltaire & Kierkegaard

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Thomas Jefferson’s Handwritten Vanilla Ice Cream Recipe

Here’s anoth­er thing you can cred­it Thomas Jef­fer­son with: being the first known Amer­i­can to record an ice cream recipe. It’s one of 10 sur­viv­ing recipes writ­ten by the found­ing father.

Accord­ing to Monticello.org, ice cream began appear­ing “in French cook­books start­ing in the late 17th cen­tu­ry, and in Eng­lish-lan­guage cook­books in the ear­ly 18th cen­tu­ry.” And there “are accounts of ice cream being served in the Amer­i­can colonies as ear­ly as 1744.” Jef­fer­son like­ly tast­ed his fair share of the dessert while liv­ing in France (1784–1789), and it con­tin­ued to be served at Mon­ti­cel­lo upon his return to Vir­ginia. By the first decade of the 19th cen­tu­ry, ice cream became increas­ing­ly com­mon in cook­books pub­lished through­out the U.S.

You can see the entire recipe for Jef­fer­son­’s vanil­la ice cream here, and read a tran­script below.

2. bot­tles of good cream.
6. yolks of eggs.
1/2 lb. sug­ar

mix the yolks & sug­ar
put the cream on a fire in a casse­role, first putting in a stick of Vanil­la.
when near boil­ing take it off & pour it gen­tly into the mix­ture of eggs & sug­ar.
stir it well.
put it on the fire again stir­ring it thor­ough­ly with a spoon to pre­vent it’s stick­ing to the casse­role.
when near boil­ing take it off and strain it thro’ a tow­el.
put it in the Sabottiere[12]
then set it in ice an hour before it is to be served. put into the ice a hand­ful of salt.
put salt on the cov­er­lid of the Sabotiere & cov­er the whole with ice.
leave it still half a quar­ter of an hour.
then turn the Sabot­tiere in the ice 10 min­utes
open it to loosen with a spat­u­la the ice from the inner sides of the Sabotiere.
shut it & replace it in the ice
open it from time to time to detach the ice from the sides
when well tak­en (prise) stir it well with the Spat­u­la.
put it in moulds, justling it well down on the knee.
then put the mould into the same buck­et of ice.
leave it there to the moment of serv­ing it.
to with­draw it, immerse the mould in warm water, turn­ing it well till it will come out & turn it into a plate

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

The First Amer­i­can Cook­book: Sam­ple Recipes from Amer­i­can Cook­ery (1796)

Leo Tolstoy’s Fam­i­ly Recipe for Mac and Cheese

Ernest Hemingway’s Favorite Ham­burg­er Recipe

The Recipes of Icon­ic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Mar­quis de Sade & More

MoMA’s Artists’ Cook­book (1978) Reveals the Meals of Sal­vador Dalí, Willem de Koon­ing, Andy Warhol, Louise Bour­geois & More

David Lynch Teach­es You to Cook His Quinoa Recipe in a Strange, Sur­re­al­ist Video

How to Actu­al­ly Cook Sal­vador Dali’s Sur­re­al­ist Recipes: Cray­fish, Prawns, and Spit­ted Eggs

The First American Cookbook: Sample Recipes from American Cookery (1796)

Image via Wiki­me­dia Com­mons

On the off chance Lin-Manuel Miran­da is cast­ing around for source mate­r­i­al for his next Amer­i­can his­to­ry-based block­buster musi­cal, may we sug­gest Amer­i­can Cook­ery by “poor soli­tary orphan” Amelia Sim­mons?

First pub­lished in 1796, at 47 pages (near­ly three of them are ded­i­cat­ed to dress­ing a tur­tle), it’s a far quick­er read than the fate­ful Ron Cher­now Hamil­ton biog­ra­phy Miran­da impul­sive­ly select­ed for a vaca­tion beach read.

Slen­der as it is, there’s no short­age of meaty mate­r­i­al:

Calves Head dressed Tur­tle Fash­ion

Soup of Lamb’s Head and Pluck

Fowl Smoth­ered in Oys­ters

Tongue Pie

Foot Pie

Mod­ern chefs may find some of the first Amer­i­can cook­book’s meth­ods and mea­sure­ments take some get­ting used to.

We like to cook, but we’re not sure we pos­sess the where­with­al to tack­le a Crook­neck or Win­ter Squash Pud­ding.

We’ve nev­er been called upon to “per­fume” our “whipt cream” with “musk or amber gum tied in a rag.”

And we wouldn’t know a whortle­ber­ry if it bit us in the whit­pot.

The book’s full title is an indi­ca­tion of its mys­te­ri­ous author’s ambi­tions for the new country’s culi­nary future:

Amer­i­can Cook­ery, or the art of dress­ing viands, fish, poul­try, and veg­eta­bles, and the best modes of mak­ing pastes, puffs, pies, tarts, pud­dings, cus­tards, and pre­serves, and all kinds of cakes, from the impe­r­i­al plum to plain cake: Adapt­ed to this coun­try, and all grades of life.

As Kei­th Stave­ly and Kath­leen Fitzger­ald write in an essay for What It Means to Be an Amer­i­can, a “nation­al con­ver­sa­tion host­ed by the Smith­son­ian and Ari­zona State Uni­ver­si­ty,” Amer­i­can Cook­ery man­aged to strad­dle the refined tastes of Fed­er­al­ist elites and the Jef­fer­so­ni­ans who believed “rus­tic sim­plic­i­ty would inoc­u­late their fledg­ling coun­try against the cor­rupt­ing influ­ence of the lux­u­ry to which Britain had suc­cumbed”:

The recipe for “Queen’s Cake” was pure social aspi­ra­tion, in the British mode, with its but­ter whipped to a cream, pound of sug­ar, pound and a quar­ter of flour, 10 eggs, glass of wine, half-teacup of del­i­cate-fla­vored rose­wa­ter, and spices. And “Plumb Cake” offered the striv­ing house­wife a huge 21-egg show­stop­per, full of expen­sive dried and can­died fruit, nuts, spices, wine, and cream.

Then—mere pages away—sat john­ny­cake, fed­er­al pan cake, buck­wheat cake, and Indi­an slap­jack, made of famil­iar ingre­di­ents like corn­meal, flour, milk, water, and a bit of fat, and pre­pared “before the fire” or on a hot grid­dle. They sym­bol­ized the plain, but well-run and boun­ti­ful, Amer­i­can home. A dia­logue on how to bal­ance the sump­tu­ous with the sim­ple in Amer­i­can life had begun.

(Hamil­ton fans will please note that the cake for the 1780 Schuyler-Hamil­ton wed­ding leaned more toward the for­mer than any­thing in the john­ny­cake / slap­jack vein…)

Amer­i­can Cook­ery is one of nine 18th-cen­tu­ry titles to make the Library of Con­gress’ list of 100 Books That Shaped Amer­i­ca:

This cor­ner­stone in Amer­i­can cook­ery is the first cook­book of Amer­i­can author­ship to be print­ed in the Unit­ed States. Numer­ous recipes adapt­ing tra­di­tion­al dish­es by sub­sti­tut­ing native Amer­i­can ingre­di­ents, such as corn, squash and pump­kin, are print­ed here for the first time. Sim­mons’ “Pomp­kin Pud­ding,” baked in a crust, is the basis for the clas­sic Amer­i­can pump­kin pie. Recipes for cake-like gin­ger­bread are the first known to rec­om­mend the use of pearl ash, the fore­run­ner of bak­ing pow­der.

Stu­dents of Women’s His­to­ry will find much to chew on in the sec­ond edi­tion of Amer­i­can Cook­ery as well, though they may find a few spoon­fuls of pearl ash dis­solved in water nec­es­sary to set­tle upset stom­achs after read­ing Sim­mons’ intro­duc­tion.

Stave­ly and Fitzger­ald observe how “she thanks the fash­ion­able ladies,” or “respectable char­ac­ters,” as she calls them, who have patron­ized her work, before return­ing to her main theme: the “egre­gious blun­ders” of the first edi­tion, “which were occa­sioned either by the igno­rance, or evil inten­tion of the tran­scriber for the press.”

Ulti­mate­ly, all of her prob­lems stem from her unfor­tu­nate con­di­tion; she is with­out “an edu­ca­tion suf­fi­cient to pre­pare the work for the press.” In an attempt to side­step any crit­i­cism that the sec­ond edi­tion might come in for, she writes: “remem­ber, that it is the per­for­mance of, and effect­ed under all those dis­ad­van­tages, which usu­al­ly attend, an Orphan.”

Read the sec­ond edi­tion of Amer­i­can Cook­ery here. (If the archa­ic font trou­bles your eyes, a plain­er ver­sion is here.) A fac­sim­i­le edi­tion of Amer­i­can Cook­ery can be pur­chased online.

Lis­ten to a Lib­riVox audio record­ing of Amer­i­can Cook­ery here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent: 

Explore an Online Archive of 12,700 Vin­tage Cook­books

The World’s Old­est Cook­book: Dis­cov­er 4,000-Year-Old Recipes from Ancient Baby­lon

Dis­cov­er the World’s Old­est Sur­viv­ing Cook­book, De Re Coquinar­ia, from Ancient Rome

An Archive of 3,000 Vin­tage Cook­books Lets You Trav­el Back Through Culi­nary Time

A 13th-Cen­tu­ry Cook­book Fea­tur­ing 475 Recipes from Moor­ish Spain Gets Pub­lished in a New Trans­lat­ed Edi­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist in NYC.

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What Happens When Mortals Try to Drink Winston Churchill’s Daily Intake of Alcohol

I have tak­en more out of alco­hol than alco­hol has tak­en out of me. — Win­ston Churchill

Win­ston Churchill had a rep­u­ta­tion as a bril­liant states­man and a prodi­gious drinker.

The for­mer prime min­is­ter imbibed through­out the day, every day.  He also burned through 10 dai­ly cig­ars, and lived to the ripe old age of 90.

His come­back to Field Mar­shal Bernard Mont­gomery’s boast that he nei­ther smoked nor drank, and was 100 per­cent fit was “I drink and smoke, and I am 200 per­cent fit.”

First Lady Eleanor Roo­sevelt mar­veled “that any­one could smoke so much and drink so much and keep per­fect­ly well.”

In No More Cham­pagne: Churchill and His Mon­ey, author David Lough doc­u­ments Churchill’s dis­as­trous alco­hol expens­es, as well as the bot­tle count at Chartwell, his Ken­tish res­i­dence. Here’s the tal­ly for March 24,1937:

180 bot­tles and 30 half bot­tles of Pol Roger cham­pagne

20 bot­tles and 9 half bot­tles of oth­er cham­pagne

100+ bot­tles of claret

117 bot­tles and 389 half bot­tles of Barsac

13 bot­tles of brandy

5 bot­tles of cham­pagne brandy

7 bot­tles of liqueur whisky


All that liquor was not going to drink itself.

Did Churchill have a hol­low leg?  An extra­or­di­nar­i­ly high tol­er­ance? An uncan­ny abil­i­ty to mask his intox­i­ca­tion?

Whiskey som­me­li­er Rex Williams, a founder of the Whiskey Tribe YouTube chan­nel, and pod­cast host Andrew Heaton endeav­or to find out, above, by ded­i­cat­ing a day to the British Bulldog’s drink­ing reg­i­men.

They’re not the first to under­take such a fol­ly.

The Dai­ly Telegraph’s Har­ry Wal­lop doc­u­ment­ed a sim­i­lar adven­ture in 2015, wind­ing up queasy, and to judge by his 200 spelling mis­takes, cog­ni­tive­ly impaired.

Williams and Heaton’s on-cam­era exper­i­ment achieves a Drunk His­to­ry vibe and tell­tale flushed cheeks.

Here’s the drill, not that we advise try­ing it at home:

BREAKFAST

An eye open­er of John­nie Walk­er Red — just a splash — mixed with soda water to the rim.

Fol­low with more of the same through­out the morn­ing.

This is how Churchill, who often con­duct­ed his morn­ing busi­ness abed in a dress­ing gown, man­aged to aver­age between 1 — 3 ounces of alco­hol before lunch.

Appar­ent­ly he devel­oped a taste for it as a young sol­dier post­ed in what is now Pak­istan, when Scotch not only improved the fla­vor of plain water, ‘once one got the knack of it, the very repul­sion from the fla­vor devel­oped an attrac­tion of its own.”

After a morn­ing spent sip­ping the stuff, Heaton reports feel­ing “play­ful and jokey, but not yet vio­lent.”

LUNCH

Time for “an ambi­tious quo­ta of cham­pagne!”

Churchill’s pre­ferred brand was Pol Roger, though he wasn’t averse to Giesler, Moet et Chan­don, or Pom­mery,  pur­chased from the upscale wine and spir­its mer­chant Ran­dolph Payne & Sons,  whose let­ter­head iden­ti­fied them as sup­pli­ers to “Her Majesty The Late Queen Vic­to­ria and to The Late King William The Fourth.”

Churchill enjoyed his impe­r­i­al pint of cham­pagne from a sil­ver tankard, like a “prop­er Edwar­dian gent” accord­ing to his life­long friend, Odette Pol-Roger.

Williams and Heaton take theirs in flutes accom­pa­nied by fish sticks from the freez­er case. This is the point beyond which a hang­over is all but assured.

Lunch con­cludes with a post-pran­di­al cognac, to set­tle the stom­ach and begin the diges­tion process.

Churchill, who declared him­self a man of sim­ple tastes — I am eas­i­ly sat­is­fied with the best — would have insist­ed on some­thing from the house of Hine.

RESTORATIVE  AFTERNOON NAP

This seems to be a crit­i­cal ele­ment of Churchill’s alco­hol man­age­ment suc­cess. He fre­quent­ly allowed him­self as much as 90 min­utes to clear the cob­webs.

A nap def­i­nite­ly pulls our re-enac­tors out of their tail spins. Heaton emerges ready to “bluff (his) way through a meet­ing.”

TEATIME

I guess we can call it that, giv­en the tim­ing.

No tea though.

Just a steady stream of extreme­ly weak scotch and sodas to take the edge off of admin­is­tra­tive tasks.

DINNER

More cham­pagne!!! More cognac!!!

“This should be the apex of our wit,” a bleary Heaton tells his belch­ing com­pan­ion, who fess­es up to vom­it­ing upon wak­ing the next day.

Their con­clu­sion? Churchill’s reg­i­men is unmanageable…at least for them.

And pos­si­bly also for Churchill.

As fel­low Scotch enthu­si­ast Christo­pher Hitchens revealed in a 2002 arti­cle in The Atlantic, some of Churchill’s most famous radio broad­casts, includ­ing his famous pledge to “fight on the beach­es” after the Mir­a­cle of Dunkirk, were voiced by a pinch hit­ter:

Nor­man Shel­ley, who played Win­nie-the-Pooh for the BBC’s Children’s Hour, ven­tril­o­quized Churchill for his­to­ry and fooled mil­lions of lis­ten­ers. Per­haps Churchill was too much inca­pac­i­tat­ed by drink to deliv­er the speech­es him­self.

Or per­haps the great man mere­ly felt he’d earned the right to unwind with a glass of Graham’s Vin­tage Char­ac­ter Port, a Fine Old Amon­til­la­do Sher­ry or a Fine Old Liquor brandy, as was his wont.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent 

Win­ston Churchill Gets a Doctor’s Note to Drink Unlim­it­ed Alco­hol While Vis­it­ing the U.S. Dur­ing Pro­hi­bi­tion (1932)

Win­ston Churchill’s Paint­ings: Great States­man, Sur­pris­ing­ly Good Artist

Oh My God! Win­ston Churchill Received the First Ever Let­ter Con­tain­ing “O.M.G.” (1917)

Win­ston Churchill Goes Back­ward Down a Water Slide & Los­es His Trunks (1934)

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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The Birth of Espresso: The Story Behind the Coffee Shots That Fuel Modern Life

Espres­so is nei­ther bean nor roast.

It is a method of pres­sur­ized cof­fee brew­ing that ensures speedy deliv­ery, and it has birthed a whole cul­ture.

Amer­i­cans may be accus­tomed to camp­ing out in cafes with their lap­tops for hours, but Ital­ian cof­fee bars are fast-paced envi­ron­ments where cus­tomers buzz in for a quick pick-me-up, then head right back out, no seat required.

It’s the sort of effi­cien­cy the Father of the Mod­ern Adver­tis­ing Poster, Leonet­to Cap­piel­lo, allud­ed to in his famous 1922 image for the Vic­to­ria Arduino machine (below).

Let 21st-cen­tu­ry cof­fee afi­ciona­dos cul­ti­vate their Zen-like patience with slow pourovers. A hun­dred years ago, the goal was a qual­i­ty prod­uct that the suc­cess­ful busi­nessper­son could enjoy with­out break­ing stride.

As cof­fee expert James Hoff­mann, author of The World Atlas of Cof­fee points out in the above video, the Steam Age was on the way out, but Cappiello’s image is “absolute­ly lever­ag­ing the idea that steam equals speed.”

That had been the goal since 1884, when inven­tor Ange­lo Morion­do patent­ed the first espres­so machine (see below).

The bulk brew­er caused a stir at the Turin Gen­er­al Expo­si­tion. Speed wise, it was a great improve­ment over the old method, in which indi­vid­ual cups were brewed in the Turk­ish style, requir­ing five min­utes per order.

This “new steam machin­ery for the eco­nom­ic and instan­ta­neous con­fec­tion of cof­fee bev­er­age” fea­tured a gas or wood burn­er at the bot­tom of an upright boil­er, and two sight glass­es that the oper­a­tor could mon­i­tor to get a feel for when to open the var­i­ous taps, to yield a large quan­ti­ty of fil­tered cof­fee. It was fast, but demand­ed some skill on the part of its human oper­a­tor.

As Jim­my Stamp explains in a Smith­son­ian arti­cle on the his­to­ry of the espres­so machine, there were  also a few bugs to work out.

Ear­ly machines’ hand-oper­at­ed pres­sure valves posed a risk to work­ers, and the cof­fee itself had a burnt taste.

Milanese café own­er Achille Gag­gia cracked the code after WWII, with a small, steam­less lever-dri­ven machine that upped the pres­sure to pro­duce the con­cen­trat­ed brew that is what we now think of as espres­so.

Stamp describes how Gaggia’s machine also stan­dard­ized the size of the espres­so, giv­ing rise to some now-famil­iar cof­fee­house vocab­u­lary:

The cylin­der on lever groups could only hold an ounce of water, lim­it­ing the vol­ume that could be used to pre­pare an espres­so. With the lever machines also came some new jar­gon: baris­tas oper­at­ing Gaggia’s spring-loaded levers coined the term “pulling a shot” of espres­so. But per­haps most impor­tant­ly, with the inven­tion of the high-pres­sure lever machine came the dis­cov­ery of cre­ma – the foam float­ing over the cof­fee liq­uid that is the defin­ing char­ac­ter­is­tic of a qual­i­ty espres­so. A his­tor­i­cal anec­dote claims that ear­ly con­sumers were dubi­ous of this “scum” float­ing over their cof­fee until Gag­gia began refer­ring to it as “caffe creme,“ sug­gest­ing that the cof­fee was of such qual­i­ty that it pro­duced its own creme.

Note: An ear­li­er ver­sion of this post appeared on our site in 2021.

Relat­ed Con­tent:

Cof­fee Entre­pre­neur Rena­to Bialet­ti Gets Buried in the Espres­so Mak­er He Made Famous

The Life & Death of an Espres­so Shot in Super Slow Motion

The Bialet­ti Moka Express: The His­to­ry of Italy’s Icon­ic Cof­fee Mak­er, and How to Use It the Right Way

Every­thing You Ever Want­ed to Know about the Bialet­ti Moka Express: A Deep Dive Into Italy’s Most Pop­u­lar Cof­fee Mak­er

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er in NYC.

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