Thoughts on rhyming cheese tarts

Liber cure Cocorum - For flaunes.

I need to write down some notes for a major research project before I start experimentation. These notes will eventually be part of an Ice Dragon Pent project. But, in the meantime, this will be a way to focus my thoughts and to avoid any extraneous rabbit holes. 

On 2/27/22, on the facey-booky, I jokingly asked Mistress Cori Ghora, who was running the Ice Dragon Pentathlon that year, if I would get bonus points if I write my documentation in iambic pentameter. She replied, "No. Unless you can document why it would have been in iambic pentameter at the time and place your entry is from."

My exact response was, "*cracks knuckles* Challenge accepted. Next year's Ice Dragon prepare to be.... not amazed. What's the word? Confused?" There were some favorable comments on this chain. After some four hours of research, I found, not iambic pentameter, but an entire cookbook in rhyming couplets. The 15th century Liber cure Cocorum 

For flaunes.
Take new chese and grynde hit fayre,
In morter with egges, with out dysware;
Put powder þer to of sugur, I say,
Coloure hit with safrone ful wele þou may;
Put hit in cofyns þat bene fayre,
And bake hit forthe, I thee pray.

For tarts.
Take new cheese and grind it fair,
In [a] mortar with eggs, without doubt;
Put powder thereto of sugar, I say,
Color it with saffron quite well you may;
Put it in coffins that are fair,
And bake it forth, I thee pray.

I might have bitten off more than I can chew. First of all, I am not a baker. Secondly, as a cookbook, the Liber Cure Cocorum is a terrible cookbook. There are no measurements. There are no details to describe what to actually do. The only thing going for me is my research skills, my ability to make logical deductions, my love for cheese, and my inability to give up a challenge. 

In discussions with Cori, Katja and other more learned cooking/baking laurels, I have decided to make this one project a complete Ice Dragon Pentathlon project (entered into five major categories). This will be a research paper, a desert, a poem (I will create my own rhyming verse recipe), a presentation of the poem, and I will calligraph the poem on a scroll of my own illumination. By then, I should be well and truly done with cheese tarts.

So, almost six months after accepting this challenge, I think I am done with the bulk of the research and I am ready to start testing my theories. 

To begin with, what is this thing. Modern translations call it a cheese tart. Tart implies a small pie. Something for one or two people. The line of "Put hit in cofyns" implies that this recipe is intended for multiple flawnes, or tarts. Coffin, singular, would have implied that this was for a single, large pie. Coffins, coupled with tarts, leads me to conclude that this is for multiple small tarts.

Thomas Tusser's Five Hundred Pointes of Good Husbandrie, Volume 8 (1878) gives the following: "Flawnes;" a kind of pancake was also so called. Nettleham feast at Easter is called the Flawn, possibly from Flauns having been formerly eaten at that period of the year: but see Babees Book, p. 173, where Flawnes are started to be 'Cheesecakes made of ground cheese beaten up with eggs and sugar, coloured with saffron and baked in cofyns or crusts.'" The book then gives the above recipe as one of two examples. (The other example is not a recipe.)

So. our cheese tarts should be treated as a cheesecake rather than a sweet custard or quiche. 

The next point of contention: "New" cheese. What is meant by new cheese? Unaged cheese. Cheese curds. Something like ricotta or something like mozzarella? I was thinking of using ricotta cheese as the recipe calls for saffron: the whey of the ricotta would carry the saffron. But, why would I need to grind ricotta in a mortar? It's already mushed up. As I am ready to start experimenting, I picked up some cheese curds. Cheese curds are newish. They are not aged and firm enough to need to be ground into a powder. But, I found a YouTube video of the making of a 15th Century Italian saffron cheesecake. The narrator explains that you should use a fresh, soft cheese and put it in the mortar to mash it into a homogeneous state. 

The video also covers the next point of contention: The Saffron. I was wondering how to integrate the saffron into the filling in the absence of a warm liquid. Grinding the saffron in with the frim cheese curds would flavor some of the cheese. Integrating it into the whey of a ricotta would be better; the saffron would have a liquid to step in. But this video says to bloom the saffron in a small amount of warm water. Then add the liquid into the cheese and egg mix. I have also found this method in other  redactions of medieval cheesecake recipes. 

Why saffron? It would add some nice flavor to the tart. The only ingredients are saffron, cheese, sugar, eggs, and the crust. There would be no other flavors to cover up the saffron. But, saffron was also used to color food. Other, similar, recipes say "color with saffron". So it would make more sense to bloom the saffron in warm water and let the saffron water fully color the egg and cheese mixture. 

Which leads me to the coffins. I think that since we are coloring the filling of our small tarts, we might want to show off the color of the filling. If our tarts are small, small enough to be eaten in one or two bites, then the diner might not notice the color if the tarts were completely covered. If they were open at the top, the diners would be able to see the saffron color as they were being served. Very important for the location and time period: saffron was an expensive luxury that one would want to show off. 

Also, if we assume that these are small tarts, we would want a light, edible crust to serve them in. I have always been under the impression that "coffins" were heavy dough crusts used more as a casserole dish than something to be eaten. Thick and heavy enough to survive being moved from kitchen table to the oven to the table without breaking open. But, if we are talking about a small tart, we can conclude that the crust would be light enough to be eaten without chewing away at it. So, it should be firm enough to hold the filling, but not so heavy that eating it wouldn't be a chore. I have found several redactions of period tart crusts, so I'm set there. 

Next is the egg. Modern cheesecake recipes call for whole eggs. The video of the cheesecake recipe from Registrum Coquine calls for only egg whites. The recipe for Honey and Saffron Tarts from MS Harlein 279 calls for only egg yokes. The Forme of Cury has a recipe for daryols, which is an egg custard, that calls for whole eggs. But the Libro de arte coquinaria has a daryols recipe that calls for only yokes. 

So. I will need to experiment. I have secured some frozen filo tart shells from my local grocery store. Yes, I know that filo dough is not the same as English fine coffins, but I did this out of convenience. I will need to experiment with my redaction and see what tastes best. whole eggs versus egg yolks. Cheese curds versus ricotta. Perhaps learning how to make my own cheese. 

I think that the Liber cure Cocorum is not a cook book per se. I think it was a vanity project. It wasn't intended to teach anyone how to cook something; it assumes that anyone reading it would already know how to cook, and these were just clever rhymes to amuse chefs. There is a very famous French cook book, Le Répertoire De La Cuisine, first published in 1914, that contains hundreds of dishes but no instructions on how to cook any of them. The chef was expected to know how to cook everything and the book was more of a menu suggestion than an actual cookbook. One of the "recipes" reads as follows: Marguerites - Poached and coated, half with white wine sauce, sprinkled with julienne of truffles and half shrimp sauce sprinkled with julienne of white of egg, decorated with daisies made with cooked turnips, the center or the flower made with yolk of egg. That's it. 

 Scroll Text - Simon Caminant - Millrind 2022

Kingdom of AEthelmearc - Service Award

By the King and Queen, Trusty and Welbeloved, we greet you well. And be it that Our Simon Caminant, for certain great works of instruction, autocrating, web management, and divers other acts by him, has put himself above such common people. The work that he has done is most pleasing to Our Eyes and to Our Ears. Thus do We, Byron II, King by right of arms, and Ariella II, Queen of mercy, induct him into The Order of the Millrind on this 16th day of July, in the Year of the Society seven and fifty, at the Bog Three Day in the Barony of St. Swithin’s Bog. Done by Our Hand and Our Seal.

1452 SC1/43/184 Signet (Initialed) R h

Were Medieval European Swords Sharp?

Micro-research by Caleb Reynolds

One of the myths I have heard, since I was old enough to be interested in swords and all things medieval, was that European swords were not sharp in the middle ages. Only medieval, Asian swords were sharp. Captain Subtext steps in to tell us that medieval knights relied more on brute strength than on technique and good hardware. Sword "experts" claim, even today, that the technology to sharpen swords wasn't invented until the Renaissance and the birth of the rapier. One can go online and watch videos of non-experts claiming that the Japanese could sharpen a katana as sharp as a scalpel, but those ignorant Europeans just used "blunt crowbars". 

Why is this so? One can say, "Oh course, they sharpened swords. It wouldn't be a good sword if it wasn't sharp." One can also say, "They knew how to sharpen knives, sickles, and wood planes, why wouldn't they sharpen a sword?" Excellent points. But is there any evidence that they actually sharpened swords? Unfortunately, most surviving medieval swords have corroded over the centuries, destroying any indication of how sharp the original edge was. The court swords that have been well maintained, such as Britain's Curtana, were never intended to be used in combat and were never given a sharp edge that might hurt someone during a ritual or ceremony. 

We can infer that swords had to be sharp because people wore armor; we can see various types of armor to protect against thrusts, heavy strikes, and slicing attacks. Fighting manuals also mention cutting and slicing with one's sword. I.33, the world's oldest sword fighting handbook, uses the phrase, "and make a cut to the face" quite often when describing an attack/defense sequence. Surely, if the swords were blunt, there would be no reason to cut your opponent's face. I.33 also teaches us to use your buckler to protect your hand and arm from slicing attacks. A passage of "The Battle of Maldon" tells us that Byrhtnoth’s nephew, Wulfmær, was “slashed by the sword.” Not bludgeoned; slashed.  

Medieval battlefields give us plenty of examples of injuries that could only have come from sharp swords. The remains from the Battle of Visby (1361) show an extraordinary number of  lethal blows that clearly show that swords were sharp. The following image is from The death of a medieval Danish warrior. A case of bone trauma interpretation by Eva Forsom, Lene Warner, Thorup Boe, Bo Jaque, Lene Mollerup, published in Forensic Science. It shows a skull injury that was common among the remains excavated from Visby, a downward cut of the sword on the left-hand side of the skull; the sword sliced through the skin and bone. Notice how clean the edges are on the top edge of the cut: the sword clearly was sharp enough to cut through the bone.

There are plenty of similar examples of missing sections of skulls, as well as severed arms and legs. All with clean cuts indicating sharp weapons. But, do these injuries indicate wide-spread use of sharpened swords? What other evidence do we have? Particularly evidence that dates to the early medieval period. 

Let us start with The Anglo-Saxon Chronicle (finished around 1154): it gives the following text describing the The Battle of Brunanburh (937)

There lay many a warrior by javelins strewed,
Northern man over shield shot;
So the Scots eke, weary, war-sad.

West-Saxons onwards throughout the day,

In bands pursued the footsteps of the loathed nations.

They hewed the fugitives behind, amain, with swords mill-sharp.

So, by the 12th century, we have an English reference to not only sharp swords, but swords that were sharpened at a mill. Presumably a water-mill as wind-mills had yet to reach the British Isles by 1150. If a water mill was used to sharpen swords, then it most likely would have been set up to sharpen swords (and other weapons) in large quantiles. Possibly in conjunction with a sword smithery. 

What other evidence do we have?

Well, take a gander at this image from the Utrecht Psalter (Utrecht, Universiteitsbibliotheek, MS Bibl. Rhenotraiectinae, Nr 32) completed around the year 800.

Here we see, on the left, the Armies of the Wicked lining up against the Armies of the Righteous. Behind the wicked, on the left, you can see a wicked sword sharpener, sharpening a sword the "old fashion" way, with a horizontal whetstone. But, on the right-hand side, you can see two righteous sword sharpeners using the latest technology of the 9th century, the rotary grindstone. Here is a closer look.

Clearly a sword. Clearly being sharpened. 

Here this image was copied into the 12th century Eadwine Psalter:

Better illustrator and in color, no less. Here is a close up of the wicked sharpener from another psalter that was a copy of Utrecht:

He appears to be using a whetstone mounted on a stick. Perhaps for better leverage?

Here is an image from the 14th century MS. Bodl. 264, which shows two people either sharpening or polishing a sword. 

Here, from The Romance of Alexander, are two people using a grinding wheel.

And, here from the 14th century Luttrell Psalter. Although they appear to be sharpening a knife or a dagger. 

Here is another image of a knife sharpener, this time 15th century French:

And, here is a 16th century German woodcut depicting a man using a hand held whetstone to sharpen a sword. Possibly to remove a burr or to touch up a spot on the edge.

On top of all of the manuscript imagery I have shown, there were professional sword sharpeners: distinct from knife sharpeners. But, their wages and fees will have to wait for another time, or this micro-research paper will turn into a full-blown Ice Dragon Pent Paper.

I would like to close with a question: where did this idea of blunt swords come from? I think that it started with world famous non-historian, Sir Walter Scott Raeburn. Author of Ivanhoe, Rob Roy, The Lady of The Lake, The Bride of Lammermoor and Tales of the Crusaders. In his The Talisman, Sir Walter writes of a meeting between King Richard the Lionheart and Sultan Saladin (which never happened in real life). In the story, Richard and Saladin are comparing swords, as rich and powerful men are wont to do. Richard demonstrates his power by chopping a metal mace in two. Saladin, not to be outdone, pulled a silk veil from his turban tossed it into the air and sliced it in half with a flick of the wrist. This story, which, once again never happened in real life, has taken on a life of it's own, being repeated over and over until many people believe that it actually happened. Sir Walter's descriptive language, and the reputation he had as a historian, convinced generations that medieval European swords were blunt and only to be used for brute force and Asian swords, while small and dainty, were impossibly sharp. 

So. Could Richard have cut a solid metal mace, an "inch and a half" in diameter in twain with a single swing of a sword? Highly unlikely. Although, in the text, the metal was not named: it could have been gallium. Could Saladin have cut a silk veil in half as if floated through the air? Yes. I have seen modern sword masters do that with a variety of blade types. All it takes is a sharp edge and the skill to do it: Saladin would have had both. Richard could have done it with his sword; he certainly had the money for a really good sword and the training to know how to cut with it. 

I hope that this brief paper will inspire you, the reading, to pursue a deeper dive into this topic. There are so many rabbit holes to check out. Feel free to explore.

 Scroll Text - Dehka - Sycamore 2022

Kingdom of AEthelmearc - A&S Award

To all that hear these words that the feats of skill and labor of Dehka has has been well observed. Her knowledge of dancing and pottery has pleased the minds and hearts of the Crown. Thus do We, Byron and Ariella, King and Queen of War and of Peace, are moved to induct Dehka into the Most Noble order of the Sycamore. We forbid that any one, with rash daring, infringe Our decree or in any way attempt to violate it; and We corroborate this, Our decree, signed by Our Hand and witnessed by those who are present on this the 9th day of July AS 57 at Pax Interruptus, near Our Barony of Thescorre.

 Scroll Text - Andriú mac Domhnaill - Fleur 2022

Kingdom of AEthelmearc - Fleur de AEthelmearc

Know that all those who shall see or hear these present letters Byron and Ariella, King and Queen of Sylvan AEthelmearc, send greeting and recommendation. Equity requires and reason ordains that men virtuous and of good skill and knowledge be rewarded for their merits by renown and recognition. And therefore We who not only by common renown, but also by the report and testimony of other Nobles worthy of credence, are truly advertised and informed that Andriú mac Domhnaill, sometimes known as Andrew of Thescorre, has long perused feats of cooking and baking and as well in this as in other of his affairs has borne himself valiantly and conducted himself honorably so that he deserved well and is well worth that henceforth he may be in all places honorably admitted renowned counted numbered and received among the number and in the company of Our Order of the Fleur. And for the remembrance of this we assign to the said Andriú the right to bear the blazon in the manner which follows. That is to say Per saltire gules and Or, four fleurs-de-lys bases to center counterchanged. In witness whereof We King and Queen of Sylvan AEthelmearc above named have signed with Our hands and sealed with Our seal and given the 9th day of July in the year of the society seven and fifty. 

inspired by the 1459/60 grant of arms to John Alfrey.

 

Scroll Text - Baronial A&S Champion- 2022

Barony of the Rydderich Hael - A&S Tourney

Ash in accord with the Will and Desire of Baron Padraig O' Brandiubh and Baroness Juliana Rosalia Dolce di Siena, We wish to recognize {INSERT NAME HERE} as the winner of the Poplar A&S Champion Competition. We were almost Stumped and wondered Willow we could choose one among so many wonderful things, but your work Teak-ed our interest. We know that you are never one to Lumber along, doing the same old thing, but willing to Branch out, turn over a new Leaf and go out on a Limb. Never throwing Shade on others, or Pine-ing over mistakes. Your work is never Sappy or Acorn-y but always of the highest quali-tree and no one can dis-a-green. To get the root of Our Will, We think you are Oak-kay. Thank Yew, We a-tree-ciate you and all of your hard work, and tonight you may take your Forest. Done by Our hands in the Year AS57, during the time of the Grand Pestilence.

Scroll Text - Annika Iosafova - Carnelian 2022

 

Scroll Text - Annika Iosafova - Carnelian 2022

Kingdom of AEthelmearc - Courtesy Award

To Our loyal subject, Annika Iosafova, right worthy and welbeloved Lady, We commend you and thank you for your good, true, and diligent labor you have had for the matter of the Crown of AEthelmearc. For your consul and kind nature and the gentle words you show to others, We wish and firmly command that you be everywhere counted, numbered, accepted, and received into Our Most Noble Order of the Carnelian. Our will is that you show the chief sign of this honor, and stand as an example for others to follow. Done by the hands of Byron and Ariella, King and Queen of Sylvan AEthelmeac, on the 18th day of June, AS57 at AEcademy.

inspired by texts from the Anthology of Chancery English