Title: "The-Saucebook-art" by L. Allison Poinvillars.
Subject: Sauces and the humours in the Middle Ages.
Author: Edited by Mark S. Harris
Last saved by: Mark S. Harris
Keywords: medieval, sauce, humour, humoral, article, food, vinegar, verjuice

The-Saucebook-art - 9/3/10

"The Saucebook" by L. Allison Poinvillars de Tours (Lyn M. Parkinson). An article on how the philosophy of the humours affected the use of sauces in the Middle Ages.

NOTE: See also the files: sauces-msg, books-food-msg, vinegar-msg, verjuice-msg, spice-use-art, mustard-msg, spices-msg, herbs-msg.

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These files are available on the Internet at: http://www.florilegium.org

Copyright to the contents of this file remains with the author or translator.

While the author will likely give permission for this work to be reprinted in SCA type publications, please check with the author first or check for any permissions granted at the end of this file.

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Mark S. Harris...AKA:..Stefan li Rous
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The Saucebook
by L. Allison Poinvillars de Tours (Lyn M. Parkinson)

        Much of this study is taken from the works of Thomas Scully, in his two books, The Art of Cookery in the Middle Ages and Early French Cookery.  Many writers on medieval foods do not discuss the humoral theories at all, giving modern reasons for choices and combinations, so that their reference books relating to medieval cookery discuss sauces briefly, as a tasteful adjunct to food, a relish or garnish.   They tend to ignore the comments made by Platina and others in contemporary sources.

        Sauces were not used just to make food taste good, as they are today.  A sauce, to a medieval cook, could mean the difference between life and death.  Every food had a humor, and the way in which foods were combined made the humors work together, to balance each other in beneficial ways for the person eating the food.  By the careful composition of ingredients, a cook could enhance a specific result, modify a harmful result, effectively alter the natural properties of foodstuffs.  Methods of cooking also affected the humors of the foods and the finished result.

        The lack of knowledge of the humor of an ingredient could lay one open to a charge of harming one’s health, even of murder.  The cook had a responsibility second only to the physician, and worked under the direction of the physician for specific treatments.  One of the major reasons for cook books was to let the medieval cook know how to combine the special properties of foods in beneficial ways.  This dependence on humoral theory in Medieval kitchens continued well into the 15th century, according to Scully.  He chooses his dating from existing collections of cookbooks and health compendiums.

        Some exceptions can be found, of course, but this was the accepted practice in most of Europe through a great part of our re-creation time period.

        The careful composition of the sauce could ‘fine-tune’ the meal, making it beneficial instead of harmful or even deadly.  The manner of cooking a food  changed its inherent characteristics, its warmth or coldness, moistness or dryness.  Adding a sauce further modified these characteristics.  Using a liquid, such as vineger or almond milk, and various spices and herbs—every ingredient had its own properties—either during or after cooking, any undesirable or dangerous properties in the principal food could be checked, modified, or rendered relatively safe. Garlic, for example, was considered so warm and dry that it could kill an invalid.

        There are four humors: Blood is warm and moist and is represented by air; Choler is warm and dry and represented by fire; Phlegm is cold and moist and is represented by water; and Melancholy is cold and dry and represented by earth.  Humans are, ideally, slightly warm and slightly moist.  They may also have those four humors or temperments if they deviate from the norm: sanguine, choleric, phlegmatic, or melancholy. Within these four humors are degrees.  Some say three degrees, some give four, with the highest number being the most extreme.

        Logic dictated that the safest and most useful foods to eat were the ones that were closest to the base mark of ‘slightly warm and moist’. The health handbooks and physician’s guides set out a list of preferred foods  that would conform to the same humor as man.  If the food did not match, it required special treatment.  Different cooking procedures produced different humoral effects.  Roasting, with the food over the flame, dries as it heats.  Boiling  warms, but because it is in liquid, also moistens.  Beef is considered very warm and dry, so it must never be roasted, only boiled.  Pork, a cold and moist meat, must be roasted. Fish are somewhat cold and moist, according to their living conditions.  They are fried, as at least a first step in preparation. Baking warms moderately, and does not dry as much as roasting. Furthermore, the pastry crust protects the pie’s contents from excessive drying if the contents are moderately warm and moist, as veal, poultry or kid.   This is frequently the reason for the two or three different cooking methods that can be applied to one food, or finished dish.

        Vegetables, coming from the earth, had a tendency to be dry in their nature, so that most, whether root or leaf, were chopped, ground and cooked by stewing, or boiling.  Onions, though, were usually fried, at least at first, as they were dangerously moist in the 2nd or 3rd*. The frying removes some of the superfluous moisture, making them safe to combine with other foods, or for man to eat.  Dry vegetables and herbs, then, boiled in sauces, could be mixed, cooked or served with dry meats. There are unboiled sauces, which are also combined with liquid, to provide the safety factor.

        Moisture of fruits such as apples, apricots, cherries, dates, grapes, melons, peaches, pears, and plums is rated at 2, which is high, or at 3, which is extreme.  It was normal to use them as food only if they had been roasted or baked or combined with ingredients whose dry nature could overcome some of the excess humidity of those fruits. Mixing fruits with very dry herbs, such as chervil, sage, mint and parsley made them ‘safe’. Cooking was one kind of treatment, but here is where the sauce comes in.

        There were a number of ways that the cook could vary the taste and work out the best enhancement of his food.  He had to know not only the properties of each ingredient, but also the ways in which each could be used, cooked or uncooked.  He could make basting sauces, cooking sauces, serving sauces, and dipping sauces.

        In order for one ingredient to sucessfully modify another, the two must be in contact.  They must become one, as much as possible. Reducing the foods to particles, the finer the better, was the best way to do this.  The more harmful the qualities of the major food, the more closely the corrective ingredients should be bound to it or mixed with it.  It could be ‘applied’ in the form of a spiced cooking broth or basting, or a serving sauce or dressing.  Or you could reduce everything to a paste and mix it.  Chiquart in ‘duFait de Cuisine’ talks about dissolving the spices in the wine or vineger, but the Menagier seems to just stir them in. 

        The medieval cook prepared different textures—chunky, granular or smooth, based not on his whim but on his need to safeguard his master’s health.  The texture depended on the concepts of values of each item of food in the preparation. Of course, there were exceptions.  Not every cook or cuisine followed these theories so religeously, but we are talking here about general tendencies and instructions.  Here, Scully comments on whether the art or the science came first—since things worked out so well as to taste, texture, cooking methods, etc.

        He relates the deliberate search for one ingredient to counteract another to the use of the sweet-sour taste of much Medieval food.  The French call it Egredouce, the Italians agre e dolce.  This is the basic taste of most Medieval sauces.  The sour comes from the vinegar, verjuice, or citrus juice, and the sweet from sugar, honey or fruits—especially dried fruits since the sweetness is concentrated.

        In Early French Cookery, Scully gives an example of the lists of
food with their proper sauces:
Meats (normally roasted)
Pork                    Verjuice, or onions, wine & verjuice
Veal                    Cameline Sauce
Mutton                  Fine salt; Cameline Sauce, or verjuice
Goat, Kid or lamb       Cameline sauce
Goose                   White or Green Garlic Sauce, or Black or 
                           Yellow Pepper Sauce
Chicken                 Cameline Sauce, Green Verjuice, Grape Mash
                           or Cold Sage Sauce
Capons                  Must Sauce
Rabbits & Hares         Cameline Sauce or Saupiquet
Partridge & pheasant    Fine salt

Fish
Anchovies               Parsley, onions & vinegar, with spice powder on top
Herrings                Garlic Sauce
Lobster                 Vinegar
Pickerel or pollack     Green Sorrel Verjuice, with white almond sops
Rayfish                 Cameline Garlic Sauce, made with ray liver
Salmon                  Cameline Sauce
Sole                    Sorrel Verjuice with Orange Juice
Turbot                  Green Sauce

        Man sauces contain a sweetening agent.  The English and the Germans tended to use honey longer and more often than the Mediterranian countries.  Of course, you find honey used it Italy, just as you can find sugar in England, but when you are thinking of a particular sauce, be aware of the preferred tendencies.  Sugar, to the Medieval physician, was the almost perfect food: it is warm in the first degree and moist in the second degree. By the 15th C., Europeans seem to become almost addicted to sugar, Scully says.  Later Italian collections call for some amount of sugar in almost half of their recipes. Here was the perfect gastronomic and humoral antidote to vinegar.

        Vinegar is cold in the first degree and dry in the third degree, which made it unfit for human consumption in its natural state.  Vinegar can come from red wine, white wine, or apple cider.  The one you use will affect the taste of the sauce.  ‘Must’ was used when it was available. That can be compared to grape juice, and some authors who have redacted recipes prefer grape juice concentrate for the strength.  Verjuice is mentioned as coming from crab apples, also from unripe grapes.  The cook may have had his one favorite, or he may have used a variety, depending on the tastes he was blending, but they were all quite strong.  Only a little need be added—the strength of the vinegar doesn’t mean the prepared food has to taste like strong vinegar.

        In the Middle Ages the choices were much broader than the simple vinegar or wine we cook with today.  Those cooks  had four liquids based on the grape.  Must, which is freshly pressed and unfermented, is warm and moist, both in the second degree.  Verjuice is cold in the third degree (the extreme) and dry in the 2nd degree.  Vinegar is as dry as verjuice, but less cool.  Wine differs according to its color, but basically is warm in the 2nd degree like must, and dry in the 2nd degree  like vinegar.  White wine is less warm than red.    Scully feels that the medieval cook would have barrels of both vinegar and verjuice in his storeroom.  Must and verjuice haven’t fermented to any great extent, so keeping them would be difficult.  The Menagier says that old verjuice, in July, is very weak, and the new is too strong, so you should mix half and half.    Of course, if he kept it for a year, he had some way to retard fermentation.    Possibly, since he comments that it was too weak, he kept adding water.  If the sugar content was diluted enough, perhaps it wouldn’t ferment, although the must is said to be sweet.  Cato said to seal your amphora, throw it in the fishpond, and leave it there for thirty days, then the must would not ferment.

Food          Moist          Dry           Cold           Warm
            1   2   3     1   2   3     1   2   3      1   2   3
vinegar                           x         x
verjuice                      x                 x
red wine                      x                            x
white wine                    x                        x
must            x                                              x

        Scully says that neither must nor verjuice were very common in English cooking, perhaps because they didn’t travel well but had a long time in transit from the continent.  Looking at the recipes in ‘1000 Eggs’, which is English, I find:  four ‘good wine’, one each of red wine and white wine, one with none of them (for a fish), verjuice three, but vinegar thirteen times in the section on sauces.

        Alternatives for verjuice had to be on hand.  There are recipes on how to make a substitute:  from the Tuscan Libre della cocina the author advises "Should there be a want of verjuice, you can use lemon juice, orange juice, or rose-water."  Now, the rose water I know is sweet.  Possibly they used green rose hips to get a tart version. Oranges of this period were almost as bitter as lemons, with that tang.  He gives this recipe:  ‘To Make Verjuice’: "Get the lees of white wine - that is, the argol of white wine - grind it up, boil it with wine or water, and you will have verjuice.'  Argol translates: 'Tartar deposited from wines completely fermented, and adhering to the sides of the casks as a hard crust.'  OED.   The hard crust is dissolved in wine or water for use. Another recipe, from the Menagier, requires a liquid base of one part wine to two parts verjuice, or juice from gooseberries.  Ground up sorrel leaves in water is tart, the Menagier gives a recipe for this, Recipe 270., as a substitute for verjuice.  In addition, sorrel is cold and dry, equaling vinegar and verjuice.

        In addition to the four grape liquids, we have ciders from apples and other fruits, and juices: lemon, orange, pomegranite, etc.   Apple juice was rarely fresh, much more often in a fermented state,  and was generally limited in culinary use to English and German traditions.  Pear cider was also used, and even a cider of ripe acorns, but I've never seen that mentioned outside of Scully.

        Spices, with a few exceptions, were uniformly warm and dry, ranging from temperate to an extremely dangerous degree.   Taillevent has an over-all spice-list for the Viandier:  ginger, cinnamon, cloves, grains of paradise, long pepper, mace, spikenard, round (or black and white) pepper, a finer cinnamon, saffron, galingale, nutmeg, mastic thyme, bay leaves, cumin, sugar, almonds, garlic, onions, scallions, and shallots.  Recipe 158 in the James Prescott translation..

        Alia Atlas, who is Mistress Catarina von Schilling in the SCA, has translated Das Buch von Guoter Spises from the German, and gives this information about those spices:

        "In all of these recipes, only the following spices were used. It is interesting to see how frequently each is called for. Pepper is the most prevalent, being named twenty-three times in guter spise. Other common spices are saffron (15 times), sage (14 times), parsley (13 times), ginger (11 times), anise (7 times), caraway (7 times), galingale (3 times), and cloves (2 times). Spices are called for twenty-four times, and herbs are called for seven times. Garlic is used four times; shallots are used twice. Tansy, hops, cinnamon, pennyroyal, mint, mace and mustard are each mentioned once. Salt is mentioned twenty-four times; there are also frequent warnings against oversalting."

        She told me that ginger is always used in combination with pepper.  Her list does not contain grains of paradise, or nutmeg although it has mace, or spikenard, or cumin, and doesn't differentiate between the pepper types.

        Scully comments that black and white pepper dominated the cooking into the fourteenth century, but over several generations does not disappear, but gives way to grains of paradise in preferance.  They look like grey pepper corns, but have a distinct gingery flavor.  Two other condiments exceptionally preferred in the late Middle Ages were sugar, as already mentioned, and saffron.  Saffron appeared in an overwhelming number of dishes, much loved for the cheerful color.    Recipe 170 of Taillevent, in the manuscript Scully used, that had the list of spices, also called for pour verdir  'to make green'- parsley, herb bennet, sorrel, vine sprouts, currants and newly sprouted wheat.  I don't know how currants make something green.  They ordinarily appear in a list of red colorants.  Could this actually refer to gooseberries, with a mis-writing by the scribe, or a mis-translation by an author? 

        In the mixture of  spices and herbs, there is very rarely only one spice or one herb.  They are used in combination, even in a dish that has the name of one in its title.  Yellow Pepper Sauce has ginger as well as the pepper, and the saffron for the yellow.  The Catalan Mestre Robert's Jolivertada (Recipe 159) adds cloves to the parsley, the jolivert.  Since they were generally all of the same basic humor, the blend might be based mainly on taste.  Recipes may have two, or a much larger number.  Some Italian recipes called for marjoram, sage, mint and parsley, hyssop, savory, rue, fennel, watercress, coriander, anise, and 'other good herbs'.  While they were usually ground and added, they could be bundled together in a bouquet garni, sometimes wrapped in linen, and immersed in the cooking liquid.

        Marjoram appears in only one instance of the Viandier, in a fifteenth century copy.  Other 'novel' ingredients introduced into the renewed Viandier are dittany, shallots or scallions, herb-bennet or common avens, spinach, clary, anise, pomegranate seeds, pinenut paste, currants, rice flour wheat starch and stag testicles.  Tournesole (an orchil lichen) and alkanet are used as new coloring agents.

        Binding agents, or thickening agents were used to give body to sauces as well as other foods.  Almond milk was the most common, but animal milk was occasionally used, as well as egg yolks, both raw and cooked.  Chicken or capon liver was used, and blood of the bird or animal being cooked.  Bread crumbs were common.  The bread could be toasted, or practically burnt to give the sauce a dark color.

        Scully says that 'garum', or liquamen, the popular Roman sauce made of fermented fish such as anchovies, sprats, or mackeral did not make its way into late medieval European cooking.  We have to give up our Worchestershire sauce.  I have heard of that being used by some present day cooks as a substitute for garum..

        Most of the sauces seem to be sharp or piquant in taste, to spark up the savor of the dishes.  There are also some very delicate sauces, such as Chiquart's Almond Leek Sauce, in which the chopped whites of leeks are simmered with bacon in meat broth.  The strained broth is then used to briefly cook the almonds.  Everything is finely pulverized—use a blender—and then re-heat.  You can discard the bacon after the first
cooking if you think it's necessary.

        In keeping with the wide variety possible, consider two must sauces.  One is mixed with finely ground sinipis alba seed.  It burned so sharply, it was known as moust ardant, must-ard.  The second sauce mixes ground cinnamon and ginger with the must from dark grapes—Scully uses the undiluted frozen grapejuice concentrate, but says you can press grapes, too.  A thickener is used—either a lightly beaten egg, or breadcrumbs, or cooked and ground chestnuts.  This is a sweet sauce, which would be good for dipping.  It is simmered, then served either warm or cold.

        Fruit sauces were also popular.  Renfrow's '1000 Eggs' contains a Strawberry Sauce, Platina in Italy and the Guoter Spise in Germany both have recipes for plum sauce.  Epulario has a sauce of rosebuds and garlic, one of pomegranats that can be either sweet or sour, your choice.  He uses mulberries and cherries and barberries as bases for his sauces. The French and Germans use applesauce, generally with almonds.  Citrus fruits and pomegranates had their greatest use in Mediterranean countries.  Although figs and dates were traded everywhere, they also were in greater use in the southern European countries.  There are other regional preferences, and these should be taken into account when planning a menu.

        Some dishes are found in all the main European collections.  The nobility were part of a greater society and they traded cookery collections and traditions, sometimes creating local variations, such as walnuts in English sauces, pistachios in Mediterranean ones.  One of the most popular sauces was Cameline Sauce.  The predominant flavor was cinnamon, and it turned the sauce to a camel color, hence the name.  This is usually a cold sauce, frequently unboiled.  It had many variations, depending on the other ingredients that might be added.  The cinnamon always dominated the other flavors, in the Cameline Garlic   Sauce. Sometimes the sauce was boiled, it could be heated and served warm, such as Cameline Broth and the Tourney Cameline, which the Menagier recommends for winter.  The Tournai used white bread crumbs and also has nutmeg.  He prefers this, and his recipe is a very plain one with lots of cinnamon, and some ginger, toast and vinegar.  In Duke Sir Cariadoc's Miscelleny, he gives three forms of a redaction of Cameline sauce taken from the Menagier.  In the Viandier, Taillevent has a recipe that adds mustard to a Cameline, suitable for most roast meats.

        Taillevent adds salt at the end of his recipe, Chiquart specifies that only the best claret wine be used in his recipe.  Claret designated a small territory in the Bordeaux region, and the wine referred to a variety of particularly clear, light wine.  Scully says a light red wine is appropriate to use today.  White bread was toasted, soaked in the wine and vinegar, added with cinnamon and sometimes ginger, and/or grains of paradise, and/or cloves, and/or nutmeg, pepper and salt.  Scully's basic recipe calls for less than 1 teaspoon of all the other spices combined to 2 teaspoons of cinnamon, and says to use more if you wish.  Scully also cautions to use a blender or food processor only on pulse or on/off for a few seconds, or you get a gluey mass.  You can also use ground almonds as the thickener, instead of the bread.

        He changed the order in which the ingredients were added to keep from getting the glue.  He heats the wine, adds the spices, stirring until they are absorbed.  He combines the soft breadcrumbs with water in a blender, then adds it bit by bit, stirring the sauce.  Add sugar at the end, don't overcook.  You can process it in a blender or put through a sieve.

        Chiquart used pea puree in place of the bouillion when he prepared Cameline Broth to go over fish.  Sometimes he doesn't distinguish much between the sauce the item is cooked in and the serving sauce.  Probably, at times, they were the same.  In his Broet, Chiquart used more kinds of spice.  Scully's version adds lemon juice, which Chiquart doesn't call for, but Scully doesn't mention verjuice and Chiquart does, so the lemon juice is probably meant to replace the verjuice.

        Some other variations are: Taillevent's: he uses grains of paradise, mastic thyme, and the long pepper is optional.  He has a Garlic Cameline, too, calling for cassia.  Renfrow's 1000 Eggs gives the Cameline in both manuscripts—Ashmole 1439 and Harleian 4016.  They are the same, except for salt in Ashmole.  Both add ginger and powdered cloves, sugar and saffron.  Ashmole calls for the fair bread to be toasted, Harleian just says fair bread.

        Epulario doesn't use the name 'Cameline', but he does describe how to make certain fish sauces with the same directions we find for Cameline Sauce.  Platina has a cinnamon sauce that calls for raisins, and toast.  You can make it with must, wine, vinegar or verjuice.  This one does not have ginger, but uses cloves.  My German book, die Granat-Apfel, calls for a fish sauce with the same ingredients: wine, cinnamon, ginger, saffron and sugar.

        Another common, basic sauce is 'Jance', the ginger sauce.  While ginger appears in some Camelines, and in other sauces, this sauce is strongly ginger flavored to the exclusion of other flavors.  It, too, has its garlic variations.  Jance is a boiled sauce, with verjuice as the main liquid.  Taillevent says that some add white wine.    Both Taillevent and the Menagier give a simple Cow's Milk Jance—just scald the milk, add a little to beaten egg yolks, return it to the pot, add ginger, and simmer, stirring while it thickens.  This is eaten warm.

        These two differ slightly in their basic Jance, the Menagier using almonds as well as bread for thickening, Taillevent using bread alone.  Both call for white wine, verjuice, and ginger.  Each cook has variations.  Chiquart's is one Scully has redacted, calling for meat broth as the liquid, a whole egg, and Scully again substitutes lemon juice for verjuice.  I think the taste would be noticeably different, although it would be a good sauce. There are grains of paradise, pepper, saffron and bread for thickening.  The other spices must not be enough to detract from the ginger.

        Green sauce is frequently mentioned.  That has fresh herbs to color it green.  Some cooks differentiate between the white garlic sauce with verjuice, and the green garlic sauce with vinegar.  Their basic white sauce contained white wine, verjuice, garlic cloves, white breadcrumbs,  and sometimes white ginger .  The Green Sauce and the Green Garlic Sauce  added various herbs, especially parsley.  The Regimen Sanitatis recommends sage, as it tempers the garlic bite.  Platina has a garlic sauce with walnuts, and one that is colored.  Both of these are redacted in the Miscelleny.  Kochkunst gives a Red Garlic Sauce from Coquinaria that is made red with fresh red grape juice, adding almonds, garlic bread crumbs and salt.  This might make a pretty display, the three colors of garlic sauce used as dipping sauces with chicken or roast pork slices or 'fingers'. 

        There actually is a sauce like the present day white sauce: in 1000 Eggs, Sauce Gauncely calls for milk and a little flour, let it boil together all thin, when it is well boiled, add crushed garlic, pepper and salt.  The Ashmole version also calls for saffron, but doesn't say it must be thin.  Renfrow's redaction uses only two tablespoons of flour to a cup of milk.  Strain after cooking.  Daz Guoter Spise has a recipe for a goose, that calls for sweet milk and six yolks and two heads of garlic and saffron.  The recipe is number 42, in Mistress Catarina's translation, which can be found both in Vol II of Duke Sir Cariadoc's Collection of Medieval and Renaissance Cookbooks, and at Alia's web site.

        Then there's one of my favorites: Pepper Sauce Without the Pepper.  It is in source Za, Il Libro della Cucina del Secolo XIV, recipe 42.  It contains toast, chicken or pork liver, wine, bouillion, strands of saffron, cinnamon, nutmeg, and salt.  True to modern cooking, the Kochkunst faithfully translates it properly, then redacts it with a pinch of pepper.

        Some of our cookery collections contain a section on sauces, but many of the sauces are in the recipes for the food they will cook or complement.  Search through the whole collection, and try things.  In this survey, I didn't include  the Andalusian and Islamic recipes. Enough to survey England, France, Germany and Italy.  The Muslim derived recipes call for murri, which is probably a whole class in itself, which only His Grace could teach, despite the redaction he gives in the Miscelleny.  I also did not do the later cookery of the 16th and 17th C. There are enough books to let me do a Part II of a later time, when the theories of the humors are not so prevalent in cookery. 

Cookbook Bibliography

Cariadoc and Elizabeth.  A Miscelleny.  6th edition.  (Contains some recipes)

Cariadoc, pub. A Collection of Medieval and Renaissance Cookbooks.  Vol. II

Perry, Charles, et al.  An Anonymous Andalusian Cookbook of the Thirteenth       Century.

Atlas, Alia.  Daz Buoch von Guoter Spiese (between 1345 & 1354).

Hinson, Janet.  Traite de Cuisine (c. 1300).

Le Menagier De Paris (Goodman of Paris, c. 1395).  Partial.

Bennett, Elizabeth.  Le Viandier de Taillevent (14th c.).

Cook, Elizabeth, from Scully, Terence.  Du Fait de Cuisine (Chiquart, 1420).

Odds and Ends:  12th c., 3 recipes; Arabic 10th + 13th c.; 16th c. beer.

Epulario.  William Barley, London, 1598.  Reprint, Susan J. Evans.

Hagen, Ann.  A Handbook of Anglo-Saxon Food, Processing and Consumption.  Anglo-Saxon   Books, Middlesex, UK, 1992.

Henisch, Bridget Ann.  Fast and Feast.  Food in Medieval Society. Pennsylvania State University Press, 1977. fifth printing. ISBN 0-271-01230-7 (hardcover)  0-271-00424-X (paperback).

Platina.  On Honest Indulgence.  Venice, 1475. Reprint, Susan J. Evans.

Prescott, James. Le Viandier de Taillevent (14th c.).  Alfarhaugr Publishing    Society, Eugene, OR. 1989.

Renfrow, Cindy.  Take a Thousand Eggs Or More.  A Collection of 15th Century Recipes.  Vol. I & II.  1991

Scully, Terence.  The Art of Cookery in the Middle Ages.  Boydell Press, Woodbridge, UK.  1995.

Scully, Terence & D. Eleanor.  Early French Cookery.  U. of Michigan, 1995.

Eleonora Maria Rosalia.  Freiwillig aufgesprungner Granat-Apffel. Hausmettel and  kochrezepte von 1709.  (taken from a hand-written recipe book of the 16thC.) (in Gerrman).

Wie man eyn teutsches Mannsbild bey Krafften halt. (in German). Prisma Verlag. 1986.

Redon, Odile; Sabban, Francoise; Serventi, Silvano. Die Kochkunst des Mittelalters.  Eichborn, 1991.  German translation of La Gastronomie au Moyen    Age.  Contains recipes, in their original language as well as the German translation from:
   1. Menagier deParis,                                                 MP
   2. Maestro Martino, Libre de Arte Coquinaria                         Ma
   3. Le Viandier de Taillevent  (2 versions)                VT  XV + VT Scul
   4. Il Libro della Cucina del Secolo XIV                              Za
   5. BU  anonymous manuscript (Italian)                                Bu
   6. Frammento di un Libro di Cucina del Secolo XIV                    Gu
   7. LVII Ricette d'un Libro di Cucina del Buon Secolo della Lingua    Mo
   8. Libro di Cucina del Secolo XIV                                    Fr
   9. Liber de Coquina                                                  Lc
  10. Maitre Chiquart, Du Fait de Cuisine                               Ch
  11. Forme of Cury                                                     Fc HB
  12. Tractatus de Modo Preparandi et Condiendi Omnia Cibaria           Tr
  13. Jean de Bockenheim, Register de Cuisine                           Bo
  14. Diversa Servicia                                                  Ds HB
  15. An Ordinance of Pottage                                           Hi
        and redactions.

I share my work with any who are interested, but I retain copyright. Please do not use or circulate without my name on this material.

L. Allison Poinvillars de Tours
mka Lyn M. Parkinson
Barony Marche of the Debatable Lands, Pittsburgh, PA
Kingdom of Aethelmearc

-------
Copyright 1999 by Lyn M. Parkinson, <allilyn at juno.com>. Pittsburgh, PA. 
Permission is granted for republication in SCA-related publications, provided the author is credited and receives a copy.

If this article is reprinted in a publication, I would appreciate a notice in
the publication that you found this article in the Florilegium. I would also
appreciate an email to myself, so that I can track which articles are being
reprinted. Thanks. -Stefan.

<the end>

Edited by Mark S. Harris	The-Saucebook-art	Page  of