Tag Archives: John Newbery

A Recipe for Mince Pies in The Lilliputian Magazine (1752)

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English Christmas continues to be associated with mince pies, even though the recipe has changed a good deal over the centuries.  There are no shortage of recipes in the eighteenth century, but the one in verse submitted by “Miss Taste” to the first number of The Lilliputian Magazine, the first children’s periodical, seems to have been overlooked by historians of holidays and of English food ways. The issue was published in March 1752, not December 1751, which may explain why Miss Taste says nothing about Christmas.

Here it is:

A Receipt to make Mince-Pies, of such Materials as are cheap, agreeable to every Palate, and will not offend the Stomach.  Communicated by Miss Taste.

Take golden pippins pared, two pound,

                Two pounds of well-shred beef suet,

Two pounds  of raisins, chop’t and ston’d,

                And put two pounds of currants to it;

Half an ounce of cinnamon, well beat,

                Of sugar, three-fourths of a pound,

And one green lemon peel shred neat,

                So it can’t with ease be found;

Add sack or brandy, spoonfuls, three,

                And one large Seville orange squeeze;

Of sweet-meats a small quantity,

                And you’ll the nicest palate please.

Although a relatively small recipe yielding around eight pounds of mincemeat, it represents hours of work peeling the apples, seeding and chopping the dried fruit, and shredding the suet, a task the doyenne of English Christmas cookery, Elizabeth David, hated so much that she substituted ready made.  With just a cup and a half of sugar, a touch of sherry or brandy, a couple spoonfuls of cinnamon, some orange juice, and green lemon peel (a kind of Italian lemon which stays green when ripe then much appreciated), Miss Taste’s mincemeat would not have been especially sweet, alcoholic, or spicy.

Her recipe does look relatively digestible and inexpensive compared to some others circulating in steady selling cookbooks.  The “best way” Art of Cookery author Hannah Glasse recommended in 1747 called for “half a hundred apples,” a pound more suet, a full pint of liquor, mace, cloves, nutmeg, citron, and orange peel–but only half a pound of sugar. For a more hearty pie, Glasse directed that filling be laid on top of two pounds of ox tongue or beef sirloin. This variation required doubling the amount of fruit!  This surely would have produced enough for more than one baking and any extra stored in crocks.

The Compleat Housewife  (1727) by Eliza Cook contained a recipe for a much richer mixture: four pounds of meat cut off a leg of veal, nine pounds of beef suet, seven pounds of currants, four pounds of raisins, eight pippins, nutmeg, mace, cloves, grated and candied lemon peel, citron and a speck of sherry or red wine.  Martha Custis Washington’s recipe was very similar, except for the addition of rosewater.

Instructions are  terrifyingly short on details, compared to modern ones which specify yield, precise quantities of ingredients, oven temperature, and baking time and much more.  Not a word is said by the eighteenth-century ladies about the crust—they seem to assume that any cook will know that the pan should be lined with the preferred type of pastry and baked blind before filling.  Or should the cook make hand pies instead of large ones?

Of the three recipes, that of Miss Taste is certainly the most affordable, as it calls just for suet instead of pounds of suet and meat.  Why did she make such a point of promoting her way with mincemeat as “cheap?”  A clue may lie in the introductory “Dialogue between a Gentleman and the Author.”  The author points out to the gentleman that educational books “are to be made as cheap as possible; for there are a great many poor people in his majesty’s dominions, who would not be able to afford to purchase it at a larger price, and yet these are the king’s subjects, and in their station, as much to be regarded as the rest.”   Would the inclusion of a grander recipe for mincemeat of the sort circulating at the time been regarded as excluding a certain class of reader, which was a natural constituent for it?  Certainly John Newbery  expressed more faith in social advancement through merit rather than birth, so perhaps it was no idle sentiment…

 

 

The HMS Victory Goes Down: A Famous Naval Disaster Illustrated in The Pretty Book of Pictures (1765)

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The Pretty Book of Pictures for Little Masters and Misses is the best known natural history book John Newbery issued–not because its illustrations were so fine, but because the majority were copied from out-of-date seventeenth-century sources like Edward Topsell’s History of Four-footed Beasts (1659) and Francis Willughby’s Ornithology (1674). Sometimes owners colored them with more artistic verve than accuracy…

The handful of illustrations at the end are almost never mentioned because they have nothing to do with natural history.   Master Tommy and Miss Polly are shown “taking the air” in their coach in one and dancing a minuet in another.   Mother Bunch standing outside her cottage under the hill, where she sells cheesecakes. A natural philosopher observes the night sky through a telescope, while a student reads as he walks through the countryside.

The first one in the group, that of the sinking man-of-war Victory, had never caught my eye until last week. It suddenly occurred to me that there are illustrations of shipwrecks everywhere in eighteenth-century children’s books–ships leaving ports, ships in full sail, ships in distress, ships breaking up on the rocks.   Whoever decided to include the illustration of the Victory took it for granted that little readers were interested in shipwrecks. If they didn’t understand the reference, they would ask someone older who explain it to them.   Not having brothers who went to sea like Jane Austen, I would have to figure it out for myself.

Could it refer to the most famous ship of the line bearing that name, the HMS Victory, Admiral Nelson’s flagship during the Battle of Trafalgar, where the hero met his death in 1805.  The information I found suggested it had to be another ship.  Nelson’s Victory was not launched until 1765 and The Pretty Book of Pictures was first published in 1752.  It’s not impossible that this block was added in later editions, but I wasn’t able to confirm that hypothesis.   The Rothschild catalog doesn’t describe the illustrations in the 1752 edition and and the National Library of Scotland has not digitized its second edition of 1754.  Before Nelson, the Victory was  Keppel’s flagship in the Battle of Ushant in 1778 and Jervis’s in the Battle of Cape St. Vincent in 1797.    This ship, which saw so much action was never sunk: since 1923 she has been drydocked in Portsmouth, the oldest naval ship still in commission, with 245 years’ of service.

Admiral Sir John Balchen’s memorial in Westminster Abbey showing the Victory sinking

Nelson’s Victory, I discovered, was the sixth of her name in the Royal Navy and there is a story that the sailors, being a superstitious lot, thought it would be unlucky to give her that name.  The Victory depicted in the Pretty Book of Pictures, had to be the fifth.   A 100-gun first-rate ship of the line launched in 1737, she was the flagship of the navy squadron charged with protecting the Channel waters in the 1740s.   In the War of the Austrian Succession, she was Admiral Sir John Balchen’s flagship during the blockade of Tagus in Spain.  When Balchen’s fleet reached the Channel in early October, a storm scattered the ships before they reached port. The Victory was separated from the rest and was believed to have gone down at Black Rock in the Casquets in the Channel Islands on October 4, 1744.  The design with sides rather high for the draft of her hull were said to have made her unstable in heavy or rough weather.   All 1100 men on board were lost, making it the worst disaster in British naval history. 

Naval histories quickly incorporated accounts of the tragedy. George Berkeley and Sir John Hill’s The naval history of Britain, from the earliest periods of which
there are accounts in history, to the conclusion of the year M.DCC.LVI (1756)  solemnly reported “Parts of the wreck were found by the people of Alderney, who also gave the account that they heard the discharges of near 100 guns in the Night, Signals of Distress.”  It was a natural subject for a dramatic marine painting like the one by Peter Monamy to the left.  Allusions to the disaster turn up in contemporary literature.  A correspondent with The Wise Woman in Eliza Haywood’s The Female Spectator (1746) inadvertently reveals what a self-absorbed creature she is by complaining that the sensible young man courting her reflected upon the tragedy of the Victory.  If he must bring up the subject of the sea, she says peevishly, he ought to compare  her to Venus rising out of it!

Many attempts over the next two hundred and sixty years were made to find the HMS Victory and in May 2008 Florida-based Odyssey Marine Exploration succeeded in finding the wreck in over 300 feet of water a good 80 kilometers past the Casquets.   Two of her brass cannons were salvaged and are on display in the Portsmouth Historic Dockyard.  Because of the complexity of maritime law regarding salvage, it is unclear if and when the wreck will be raised from the seabed.