Saturday, October 7, 2017

To make the tassels for the Skjoldehamn Belt, version 1.

The belt is based on a belt found with a peat bog body, likely female, from Skjoldehamn in Northern Norway. The body was found wearing a near complete outfit, including this belt. Initially, the find was assumed to date to the 15th to early 16thcentury based on the style of clothing, but new analysis of the find using carbon dating in 2009 found a date of 1075 ± 20 years instead. 

The person found was about 40-50 years old. Even though most of the large bones including the skull disintegrated during the excavation in 1936 the remaining bones show no signs of wear and tear and no strong muscle attachments. Together with a slim build and a small stature of 5’ the general archaeological consensus is that the remains are too short and slender for a typical Norwegian male, and could very well be female (or possibly Sámi male or female).

This means this could be one of only a few finds of a female of the (late) Viking age wearing a belt; and the only one I know of where the belt itself is present instead of just indicating hardware (like a buckle), making it a very intriguing find indeed!

This blog post is about how to finish the ends of the braid into period plausible tasseled cords.



When the braid is at length, both ends are split into three units of four strands, each of which are separately wrapped to create the tassels.


I start with the middle cord, and tie up the two outer cords, to keep them out of the way



From the images provided in the thesis (see above) it looks like the wrapping yarn used is thinner than the yarn used for the belt and the tassel necks. Keep in mind the pattern of the wrappings; every tassel cord has a center band and the center tassels are red fields with green/gold/green bands and the outside tassels are green fields with gold/red/gold bands. The cords look symmetrical without being completely identical, which is surprisingly hard to emulate.

I tightly tied my yarn around the strands at the beginning and manually wrapped the cone of yarn around and around (and hiding the tail end of the knot underneath the wrappings). At a new field or band I did not tie off the previous color but wrapped it in with the tassel cords with the new color, until I needed it again.


Adding a third color; from now on the colored yarn can be "picked up" from the yarn making up the cord's core.


All done with the wrapped cords. Notice how to center cord of each bundle is in opposite colors as the outside cords - as is the same on the extant piece.


It is not clear from the original find if the tassel head is made from separate yarn, of by looping back and doubling up on the core yarn, like demonstrated below. In my first version I tied four single ply yarns to the end of the tassel core to make the tassel head, and used yarn from the tassel core to secure the base. Then the single ply wool went bonkers from the humidity and fluffed up quite considerably, making me look for a different technique.
 
Then the tail end of the yarn is looped back and secured with a knot to make the tassel head.



I use a secure flat knot to tie the yarn right at the base of the cords. Then the tassels get combed down, keeping one long yarn separate to use to wrap and secure the base of the tassels.


 Then one of the long ends is used to wrap and stitch the base of the tassel (this is a different tassel, the above only has two red ones to stitch with but as that was not very visible I used one in white to show the stitch).


You can wrap it around the base a few times to secure and then start stitching, or you can wrap and stitch from the get-go. The extant piece is stitched from the base up.


 

The stitch feels kind of backwards. I work from L to R, therefore I wrap the yarn around the back and come up on top, then I stitch under the base of the beginning of the yarn loop, to come back out over the previous yarn loop (but under the new one) and then it gets pulled tight. Repeat until the base is well defined and securely stitched in. In the extant piece the base stitching was done in three bands of two colors.


Then the tassels are cut to length and nicely ruffled up. It is not clear from the extant piece if the tassel fibers are only from the core, added separately, or both. The same for the cord wrapping. From looking closely at the pictures it seems like different diameter fibers are used, making a case that both existing thicker cord yarn, and added thinner wrapping yarn is used to wrap the cords. The extant tassels are felted, but again, it is not clear if the felting happened on purpose at construction, happened during wear, or happened during burial.
 

This blog post is to illustrate how to make the tasseled cords of the 12 strand braided belt in detail. Look for my earlier blog post on how to make the braid itself, and for a later post on an alternate way of wrapping.

For more information on the find itself please check my paper at:

All photographs are (c) by Susan Verberg, 2017
All illustrations are from Dan Halvard Løvlid dissertation.

To make the 12 strand Skjoldehamn Belt braid

This belt is a 24 yarn, 12 strand braid, and is based on a belt found with a peat bog body, likely female, from Skjoldehamn in Northern Norway. The ends of the belt were decorated with tasseled wrapped cords, in the style of modern Scandinavian Sami people. The body was found wearing a near complete outfit, including this belt. Initially, the find was assumed to date to the 15th to early 16th century based on the style of clothing, but new analysis of the find using carbon dating in 2009 found a date of 1075 ± 20 years instead. Chromosome research indicate the body to be a female.

This blog post is to illustrate the technique of the 12 strand braid used in this belt in detail. For more information on the find itself please check my paper at:

The braid of this belt works best with a fairly low twist yarn. The stiffer the yarn the bulkier the belt, and it can get too bulky for wear. Do a small test piece to make sure your yarn braids well. I prefer to use weaving yarn, or yarn which does not have much stretch (unlike knitting yarn) as this make for a sturdy weave.


First measure 12 pairs of yarn, at least twice the length of the intended finished product. Wind the pairs on a bobbin, preferably a kumihimo bobbin (large size) but if not available, a piece of cardboard works as well (but does get easily tangled). Keep the L and R sides separated, for instance with a chip clip. For the beginner, please start with two contrasting colors as it really helps to keep the sides separate.


I use an inkle loom as a holder. I've placed it on it's rear and use the first / top bar or peg to give me a working height to do a nicely tensioned braid. When I've braiding enough length to be too low for comfort, I use the other pegs to loop back and forth in between to keep the braid shed at a comfortable working height.


To start I measure out about 2 feet from the end (if using the braid yarn to make the tassels) and put in a knot. I put in some random other knots in the tail to later use to secure to the loom pegs in just the right spot.


I use a chip clip to flatten the yarns into two sheds of 12 strands, 6 strands on each side.
Pick up the outermost R (white) strand, go OVER three, and then UNDER the last two OF ITS OWN SIDE. Then pick up the outermost R (red) strand, go OVER three, and then UNDER the last two, which is now one red and one white.

Repeat this movement, take the outermost, and go under the last two of THE SAME SIDE. After six passes on both sides, the red and white will have reversed sides.


When tightening the weave DO NOT overtighten. Gently pull together; pull taught, but do not really pull tight. If the weave is overtightend then the edges will get compacted and not work well. With my fingers, I keep the strands of the braid flat and in order while braiding so I can easily see where I am going, and which strand is the actual last one. If not sure, pull gently and see which herringbone tightens up. My biggest problem with this project are the bobbins - my frugal cardboard pieces *love* to wrap themselves around their neighbors and get stuck. When I then shift attention to untangling I sometimes let go of strand(s) and loose track of which went where... As I've made three of these so far and see myself making more, Kumihimo bobbins are now in my Amazon queue!


With this braid, the actually braided part is the herringbone pattern in the middle - the edges are the strands looping over from side to side (follow one of the colored bands and you see the zigzag pattern the strands make throughout the braid). This image (above) also shows that one side - counting from the center - has on the L three whites, two over and one under, and to the R had three reds, one under and two over. The side which starts with two over, side-by-side, as seen FROM THE CENTER, is the side which is braided towards. So in this shed, pick up the outermost white, go under the two red, to align with the two side-by-side whites. This is your visual queue as to where you left off and is slightly counter-intuitive for some reason.


When it's time for a break, I use my trusty chip clip to clamp one of the sides. It is better to clamp one then to clamp both on one clip: it is absolutely necessary to keep both sides separate to start back up, but not really important if the strands themselves stay in order. When you lost track of which strand to use next and have no idea how to proceed, slowly back up and unbraid until you have all red, and all white, on separate sides again. Then look for the side with the two-over, and start again.


This image shows how the pegs on the loom can be used to wrap up the length created while braiding, to keep your braiding shed at a comfortable height. If a suitable inkle loom is not available, you could also use a wood clamp on a table's edge and clip or tie your braid to the top, or the back of a high-backed chair.

Next Up: How to make the cord and tassel, two versions.

Some more information on this belt, includes an alternative to making the tassels:

Peach Ginger Conserve, or, jam is not period.

Following is my documentation for a Peach Ginger Conserve entered into the AS52 Harvest Raid Arts & Science Competition - Theme: The Harvest


In keeping with this year’s theme I decided to make something with a fruit harvested from our own homestead orchard. As we were blessed with many peaches this year I choose to make a peach ginger conserve, modernly called a jam.

Some background on period preserves:
While preserving fruits has always been a staple of medieval kitchen, looking deeper into the subject I found that preserving fruit as a jam was not. The word "jam" began to creep into manuscript cookery-books in the last quarter of the seventeenth century, and into the printed ones early in the eighteenth. It might have had a Middle Eastern origin, as there is an Arab word "jam" which means "close-packed" or "all together". From its more general usage in English for things that were jammed against one another, the word passed into the realm of confectionery, to indicate those preserves where soft fruits cooked with sugar were crushed together, rather than sieved, and could thus be described as "jammed", or "in a jam".

In period, fruits were preserved in sweet, spiced syrups of wine and sugar or honey, or in the form of solid marmalade's. Syrup preserves are found in sources starting at Apicius, a collection of 4-5th century Roman cookery recipes, and solid marmalade recipes have been found as early as the 14th century. The spreadable soft-fruit preserve we currently know as jams & jellies are usually sealed up in preserving jars or cans of some kind, which is necessary to avoid spoilage like mold. Recipes for soft jams and jellies are mostly found from the 18th century up, when canning also became a possibility. A storage technique which could have been used in period, and has been post period, is using some kind of vessel like a ceramic jar, topped with a brandy soaked disk of parchment, and covered with melted lard or beeswax.

An interesting nugget is the idea that the word “marmalade” originally came from “Marie malade”, or sick Mary, because marmalade was regularly made for Mary Queen of Scots to keep her healthy. The word marmalade actually comes via French from the Portuguese marmelada and means quince jelly. The earliest reference to marmalade is from 1524 - 18 years before the birth of Queen Mary – when one box of marmalade was presented to the King (it was an expensive delicacy). The French condoignac and chardequynce are antecedents of the marmalade we know today and are themselves descendants from the cidonitum of 4th century Palladius. The medieval malomellus was a term used both for the fruit quince and for the conserve, and the modern Portuguese for the fruit is still marmelo.

To recap:
Preserves (like halved peaches in syrup) are period.
Dry Marmalade (more akin to fruit leather than what we recognize today) is period.
Wet Marmalade (like the British orange marmalade, with rind) is post period.
Solid Jelly is period (but probably would not be stored overly long).
Soft Jam is post period.

MY RECIPE:
3 ½ pounds of peaches, peeled, pitted and chopped.
5 cups of sugar
¼ cup of lemon juice
½ cup crystallized ginger

The fruit is combined with the sugar, ginger and lemon juice and heated in a large heavy saucepan. It is stirred until all the sugar is dissolved and boiled slowly until the mixture thickens and the fruit becomes translucent. Remove from heat, skim as necessary, and process for 10 minutes in a boiling-water-bath canner.

This recipe is a mix of “Old Fashioned Peach Preserves” and “Ginger Jam” from The Big Book of Preserving the Harvest.

Because this conserve is meant to be preserved, as advised by the FDA I used a modern conserving recipe to make sure it cans safely. All ingredients taken separate were available in period, including the lemon juice, but due to the lack of canning technology not necessarily used in this manner. The quinces in the period recipe are used to thicken the marmalade until it is solid as it is very high in pectin.


PERIOD INSPIRATION RECIPES:

This 15th century Portuguese recipe indicates peaches were used in conserves:

60 - Pessegada. Cortem ao meio duas partes de pêssego e uma de marmelo, e levem-nas a cozer, em separado. Depois que estiverem cozidas, passem tudo por uma peneira fina. A seguir, ajuntem tanto açúcar quanto for o peso da massa, e levem o tacho ao fogobrando. Deixem atingir o ponto de marmelada, e coloquem o doce em caixetas.

Peach Marmalade. Cut in half two parts of peach and one of quince, and cook them separately. After they are cooked, put everything through a fine sieve. Next, add a like amount of sugar to the weight of the paste, and take the pot to a low heat. Allow it to reach the point of marmalade, and place the confection in little boxes.
From A Treatise of Portuguese Cuisine from the 15th Century.


This 16th – 17th century recipe indicates boiling to candy height (interpreted as sheeting):

#S112 TO MAKE A PASTE OF PEACHES
Take peaches & boyle them tender, as you did your apricocks, & strayne them.  then take as much sugar as they weigh & boyle it to candy height.  mix ym together, & make it up into paste as you doe yr other fruit.  soe dry them and use it at your pleasure. Peel and slice peaches. Bring them to a boil over medium heat in a thick pan.  Cover pan, stirring occasionally.  Add a little rosewater if desired. 
From A Booke of Sweetmeats, Martha Washington's Booke of Cookery, 1550-1650.

This 1608 recipe indicates ginger was used in spicing conserves:

27. To make rough-red Marmelade of Quinces, commonly called lump-Marmelade, that shall looke as red as any rubie.

Pare ripe and well coloured Peare-quinces, and cut them in pieces like dice, parboile them very tender, or rather reasonably tender in faire water, then powre them into a Colender, and let the water runne from them into a cleane Bason, then straine that water through a strainer into a Posnet [skillet], for if there be any grauell in the Quinces, it will be in that water : Then take the weight of the Quinces in double refined Sugar very fine, put halfe thereof into the Posnet, into the water with a graine of Muske, a slice or two of Ginger tied in a thrid, and let it boile couered close, vntill you see your sugar come to the colour of Claret wine, then vncouer it and take out your Ginger, and so let it boile vntill your sirupe being to consume away, then take it off the fire, and pomice it with a ladle, and so stirre it and coole it, and it will looke thick like tart-stuffe, then put in your other halfe of your Sugar, and so let it boile, always stirring it vntill it come from the bottome of the Posnet, then box it, and it will looke red like a Rubie, the putting of the last Sugar brings it to an orient colour.
A Closet for Ladies and Gentlewomen, 1608


BIBLIOGRAPHY

Costenbader, Carol W. The Big Book of Preserving the Harvest. Storey Publishing, 1997.

Gomes, Fernanda (trans.). A Treatise of Portuguese Cuisine from the 15th Century.
https://web.archive.org/.../Faerisa/portuguese15thC.html

Hess, Karen (transcriber) Martha Washington's Booke of Cookery. Columbia University Press, New York, 1981.

Holloway, Johnna. A Closet for Ladies and Gentlewomen (1608). 2011.
http://www.medievalcookery.com/notes/1608closet.pdf

Stefan’s Florilegium.
http://www.florilegium.org/.../FOOD.../jams-jellies-msg.html
http://www.florilegium.org/.../FOOD.../marmalades-msg.html

Wilson, C. Anne. The Book of Marmalade. University of Pennsylvania Press, 1999

And the cooks at the SCA Cooks facebook group. Thank you!
https://www.facebook.com/groups/604657969575143/

Saturday, September 16, 2017

Ebbing & Vilsteren: Of gruiters, gruitkettles, and gruithouses. From Bier! Geschiedenis van een Volksdrank, 1994.


BEER! History of a Drink for Everyone. [p. 20-27]
R.E. Kistemaker and V.T. van Vilsteren. Amsterdam: De Bataafse Leeuw, 1994.

Of gruiters, gruitkettles, and gruithouses.
About a typical medieval phenomenon.

H. Ebbing and V.T. van Vilsteren.
Translation © Susan Verberg, 2017

Before the 14th century, when brewers changed over to hopped beer, our area brewed and consumed gruit beer. Little is known of the consistency of gruit beer and how it was made. A right was connected to the making of this beer: the gruitrecht. And several sources mention gruiters, gruit kettles and gruithuizen. This chapter is about the content of gruitrecht and what on average happened in the gruithuis.

The right to gruit.
As we’ve seen [in previous chapters], in the time of Charlemagne at around 800 AD laws were instituted in many parts of the large empire for different craftsmen to be present on the manors. One of these craftsmen had to be the person responsible for the making of fermented drinks, like beer and cider. It is not clear what exactly the tasks were of this man. It is not known whether the local population of the area where the craftsman worked was mandated to use his services. Likely [at that time] everyone was free to choose whether or not to brew beer at home with their own household goods and ingredients.
This seems to have changed during the following centuries. The landowner took the right to produce and supply an ingredient (excipient) needed for the production of beer: the gruit. Of course he did not produce gruit personally and therefore the capacity to hire or fire a person for this task was also part of gruitrecht. The earliest mention of gruitrecht dates from 999. In that year Emperor Otto III, also country governor of the current Netherlands, gifted villa de Bommel with all rights to the church of Saint Maarten in Utrecht. Included in the gifted royal rights were ‘the toll, the coin, and the whole commerce of brewed beer, commonly called gruit’. Practically, gruitrecht was a forced sales tax. The production of your own gruit to make your own beer was forbidden. Gruit had to be bought and the income went to the king. In this way, a tax was levied on the brewing of beer through the sales of gruit.
Central law in the Carolingian empire collapsed in the centuries following the death of Charlemagne. This opened up opportunities for local government officials. Most often the counts functioned as the royal lawkeepers and had the right to implement royal (public) authority. But the counts and later the bishops misused the weak position of the king. He thus felt necessary to lease or gift away many of his royal rights. In later times the counts and bishops managed to elevate gruitrecht, and later also coin- and export tax, to a hereditary monopoly and to spread this throughout their territory.
In the 13th century many city accounts mention gruitrecht. On average these mentions indicate the first time the local noble as owner of the right, leased this right including its income, often to a city. It happened on a regular base a noble suddenly needed a large amount of cash for his expenses. Then, for instance, he would borrow this amount for a certain period from a city. During this period he paid off the loan in terms. In exchange for the borrowed amount, the city received gruitrecht and all its related income as collateral. When the landowner paid off the loan the city had to return the gruitrecht. Therefore city-leased gruitrecht was not the start of local gruitrecht. That already existed long before. But from the moment gruitrecht became available to local governments, sources regarding gruit become readily available to us.
Financial problems often resulted in not being able to pay off the loan, and several nobles had to extend the lease. This is probably what happened in Zwolle. An ordinance known from 1341 had the city officials of Zwolle pay their governor, the bishop of Utrecht, for gruit, among other things. In 1404 the bishop at that time, Frederik van Blankenheim, gave the gruitrecht to the city in leasehold. This ordinance mentions several interesting unusual things. The bishop complains about the ‘hoppenbyer, dat men gemeenlike dryncket in onsen lande, daer onse gruyten (…) seer mede afgegaen, en de vernyelt syn’ [hopped beer, which is so commonly drunk in our area, that our gruit (…) so much went down, and has been broken]. The income from gruit had gone down significantly because of the more and more popular hopped beer. The city of Zwolle complained that the income from the sale of gruit did not cover the lease of 100 pounds per year on which the city had agreed with the bishop anymore. Previously, from a predecessor of Frederik van Blankenheim, the city received the right to not only tax brewing with gruit but also tax hopped beer.
Flavoring beer with hops instead of gruit started in the northern provinces of the Netherlands around 1320, probably in imitation of the tasteful, but by heavy taxation expensive Hamburg beer which by then was already prepared with hops. Soon gruit as a raw material was displaced, even though up until the beginning of the 15th century gruitbeer was still produced. The excise duty on the brewing of hopped beer compensated the owner of gruitrecht for the loss of income from declining gruit sales. Because of the gradual transfer of a monopoly on the sale of a raw material to an excise duty on brewing, the meaning of gruit faded. In mostly 15th century sources the excise duty on the brewing of hopped beer is often noted under ‘gruyt’. One even finds the term ‘hoppengruyt’, which shows people did not quite remember the origin of gruit anymore.
Most of the income and expenses of cities were booked into accounts. This was also the case with the income and expenses in regards to gruit. Especially in those areas where gruit fell into disuse relatively late, much information can be sourced from these accounts. This is especially the case in certain cities in the current provinces of Overijssel and Gelderland, like Zwolle, Deventer and Zutphen. The inhabitants of cities in North and South Holland switched over to brewing with hops fairly early (and in large numbers). Thus gruit disappeared much quicker over there. Another practical reason why we should turn to the Overijsselse and Gelderse cities is that in most cases the Hollands [the provinces, not country] city accounts have only been passed down since the 15th century; in other words, only after the time business in gruit had long since disappeared in Holland.

20. A medieval brewery actively brewing. Illustration of a manuscript from 1462. On the left ‘beslag’ [mash] is made in the ‘beslagkuip’ [malting tub], at the right cooking in the brewing kettle is shown. City archive Kampen.

Of cruyt and zwaercruyt
What was actually in this gruit and what really happened in the gruithuis? An account from Zwolle of 1398 informs us about the composition of the substance of gruit. It mentions 32 mud herbs, 100 pounds of resin and 100 pairs of ‘heavy herbs’.  The day to day handling of gruit was in hands of the gruiters. Their accounts are included in the monthly accounts of Zwolle which saved from 1399 onwards. Apart from transfers of current inventory, we also find purchase accounts of the raw materials needed for the production of gruit. And each time these three ingredients are mentioned: ‘cruyt’, ‘zwaer cruyt’ and ‘hers’. ‘Cruyt’, as shown in the monthly accounts of 1407 and 1411 means ‘gaghelkruyt’. For the meaning of ‘zwaer cruyt’ we have to look at the administrative chambers' accounts of Deventer. A similar purchase is noted there, but in Latin: ‘duris specibus dictis serpentien et bekeler’ (thus: ‘zwaerkruyt’ called ‘serpentien’ and ‘bekeler’). Serpentien probably means ‘slangekruid’ [snakeherb], with which several plant species could be meant. Bekeler, in other sources also indicated as ‘bekelteer’, is linguistically derived from ‘bacae lauri’, or the fruits of the laurel. The third ingredient is ‘hers’, with which plain resin is meant. This unvarying combination of raw materials also formed the recipe of gruit in Deventer. In older accounts the ingredients are listed in Latin: ‘mirtus’, ‘durae species’ respectively ‘resina’, more recently it was in the vernacular, as in Zwolle.
In Zwolle, the herb gagel [bog myrtle] was purchased each time in mudden (circa 120 liters). With each transfer the resin was listed in pounds. Strangely there is no mention of a note for the purchase of resin. Still there was no shortage; the account from Zwolle of 1403 mentions with the transfer ‘die herse die gij ons overleverden ende dier is noch ghenoech’ [the resin which you transferred and which is still enough]. And lastly ‘zwaer cruyt’ is delivered in pairs. This likely has to do with the proportional distribution [50/50] of the two ingredients ‘serpentien’ and ‘bekeler’.
21. The leaves of the bog myrtle shrub were the most important ingredient of gruit. The leaves include essential oils with an intoxicating effect. Bog myrtle grows mostly in acidic, wet heather fields and bogs, and sometimes in the valleys of [coastal] dunes.

The gruiter.
Several people were employed in the combined process of the production and sales of gruit. First the gruiter. This person, whom in essence had leadership of the gruithuis, was likely at first employed by the owners of the gruit through wage labor. When in the 14th century several governors began to lease their gruit, especially to cities, quite often the new tenant instated a new gruiter. Sometimes a lease agreement was agreed on; sometimes the gruiter was in plain wage labor. Like in 1339 when the city of Deventer leased the gruitrecht from the bishop of Utrecht and the city paid Rudolf the gruiter 24 pound as wages, ‘Rodolpho fermentario pro pretio suo’. The following year a certain Johannus was instated.
In the sources between 1382 and 1385 a certain Alfer the gruiter exists as schepen [city official] of Zwolle. It is also clear from other sources that the ‘office’ as gruiter is profitable, both financially as socially. This is also the case with Boldewin Scelewerd from Kampen who leased the gruit beween 1318 and 1324, and is mentioned in other sources as a ‘schout’ [lawman]. The gruiter likely had fluctuating work hours. The monthly accounts from Zwolle indicate that especially between February and April, and in December, extra gruit was sold. It looks like especially in those months more beer was produced. It is very probable this had to do with the fermentation process of beer. In the middle ages it was usual to use top fermenting yeast. Bottom fermentation was only possible at lower temperatures (between 5 and 10 C), thus needed winter temperatures.

22. To make beer, the grain first has to be sprouted.
 The sprouts produce enzymes which can transform starch into sugar.

Gruuthuus and the Grutere.
Gruitrecht was also royal privilege in Flanders, and reserved for the counts of Flanders. They had the right to sell gruit or gruut for the making of beer. In the 12th century at least this right was given to important families, whom often were allowed use the title ‘gruutheer’ [gruitlord] or ‘gruter’ [gruiter]. They managed the gruithuis where the gruit was stored and ready to be collected by the consumers. When in the course of the 14th century gruit was replaced by hops, gruitrecht developed into an excise tax. The gruithuizen were replaced by small offices and mostly disappeared during the 15th century.
The best known example in Flanders is Brugge, where gruitrecht was leased to the family Van Brugghe, which transferred in the 14th century by marriage to the family Van der Aa, whom also used the title ‘lord of the Gruuthuse’. The gruithuis was likely situated along the Reie, in the same place as where in the 15th century a wing of a burgundies city palace was built. [Called] the Gruuthuse, of which today only the name remembers the previous royal right, it still forms an important historic centerpiece in downtown Brugge.
In Ghent, by way of the counts of Flanders, gruitrecht was in the hands of the family De Grutere, part of the elite city government; a group of wealthy urban residents of which the oldest mentions hail from the 13th century. It is they who built the oldest stone city houses, knicknamed ‘stones’.


23. Remains of walls of the medieval gruithouse in Ghent are now incorporated in the new hotel complex.

Archaeological research at the Goudenleeuwplein in Ghent in 1980 and 1985 brought to light the remains of such a ‘stone’. This mostly square construction is with its measurements of 17 x 14 meters rather unusually large. Historic research points this was the gruithuis, where the family De Grutere managed the gruitrecht. In the time when gruitrecht was still a true taxation, most of the work would have been done on the first floor. In the 15th century the upper floors were made ready for a new function, to say, the Inn ‘de Guldinen Leeu’ and her successors. A couple of walls escaped the 1980 and 1995 demolition and were integrated into a new hotel complex. – M.C. Laleman


24. During a demolition in Ghent the remains of a medieval gruithouse appeared.

In the gruithuis.
The city accounts of Deventer give much information about what actually happened in the gruit house. By 1340 there was mention of a domus fermenti (gruithuis), and a certain Swolleman was paid for work he had done on the structure called stamphuis. This seems to indicate the stamphuis is a separate unit of the gruithuis, named after the machinery present. Probably the gruiter did not do the dirty work himself. At least, in that same year there is mention of a servant who works in the stamphuis to crush the myrtle. Thereby made fine, together with other ingredients the myrtle was made into gruit. The gruit was, according to accounts from 1347 and 1348, delivered in units called ‘stampen’ [literally stomps; compacts]. By the 1405 transfer of ‘zwaer cruyt’ in Zwolle it was noted that only two more ‘stampen’ were in inventory. This indicates not only myrtle was crushed, but also ‘zwaer cruyt’. This becomes more and more likely when we read how in 1411 with the transfer the old aldermen of Zwolle note: ‘Item so levere wij u over zwar cruyt, ghestoten ende onghestoten als ‘t up den boene licht’ [Item so we deliver you heavy herbs crushed and not uncrushed as it is stored in the attic].
            Additional proof crushing was situated in the gruithuis is found in the city accounts of Zutphen. Under-rentmaster Johan Huerninx, whom during the year 1401 was accountable to the aldermen of the city, accounted that eight pounds had been paid that year for the rent of a gruetpeert [gruit horse]. The connection with gruet indicates the horse was needed for a task in combination with gruit. This is confirmed by the under-rentmaster accounts during the year 1411. Again a horse is mentioned, but this time in a more clear context. In this expense account the function of the horse is explained: ‘Vor haver ten peerde als men ‘t kruet stiet 14 schelling’ [For oats for the horse to crush the herbs]. This nota indicates that in Zuthpen a gruit horse was used for the crushing of herbs. Apparently, the gruithouse was large enough to house a rosmolen [horse powered mill]. Without question, the horse had to power the crushing mechanism in the gruithouse. We can rest assured that a similar rosmolen would also have functioned in the Deventer gruithouse.


25. Reconstruction drawing of a small Zutphen’s brewery which probably was destroyed during the city fire of May 13, 1284. After the fire and the process of carbonation, the area was raised and newly built upon. The remains remained untouched making it possible for archaeologists to precisely determine how the little building would have looked like 700 years later. The brewery measured about 3.5 by 4.5 meters and was dug down about a half meter. It had ninety degree angled corners of boards, and the sidewalls were made of posts and woven wicker. On the first floor lay pitchers, pots and in the fireplace a brewing kettle. On the collapsed attic floor were also pitchers and a large amount of oats was stored. Drawing: M. Groothedde, Zutphen.

Kettles and barrels.
The above has shown that the gruithuis and the gruiters derived their name from the work they did: the crushing of herbs used during the production of beer. Though several sources seem to indicate this might not have been the only task of the gruiters. These sources, city accounts and certificates, keep mentioning kettles and tubs as part of the inventory of the gruithuis. For instance in 1324 the Count of Holland leased his gruit (right), his gruithuis and all barrels included to the city of Dordrecht for three years, and we see he booked a post in 1344 for expenses for the benefit of the ‘gruuthuus tot Outdorp’, including a ‘gruutketel’ [gruit kettle]. Also in Zwolle the gruiter had a tub and a kettle available, that is, gruitmasters in 1401 spend an amount of 16 plak for ‘voir een vat daer men die grute inne sett’ [for een tub to place the gruit in] and an amount of 12 plakvoir oeren ketel daer men die grute mede sett’ [for a kettle which one uses with gruit]. The administrative chambers' accounts of Deventer note similar posts, in which a kettle and a press are mentioned. A separate account of the gruiters over the year 1340 mention a hanging apparatus for a kettle and the copper kettle to go with it, plus eight mud grain, a boat load peat and a ‘scepel’ (measuring coop). In Zutphen the gruitmasters of 1395 received for ‘enen olden ketel die vercoft werd 9 pond en 19 schelling’ [for an old kettle which was sold]. The gruit accounts of 1411/1412 mention eight barrels which made 316 pounds when sold. The barrels likely contained gruit, as the total income for gruit of that year was 335 pounds. The 19 pound difference was for malt brought to the gruithouse.
           

26. The monthly accounts of Zwolle indicate the gruitmasters sold a large amount of gruit between 1399 and 1407 especially in February, March and April. December also shows a spike. Beer one wanted to keep was brewed in fall and in early spring. Beer brewed in the months May until October kept significantly less long.




27. Just outside of Venlo is situated the so named Groethof, also called the Spyker [the Nail]. In the 13th century and the first half of the 14th century the gruit of Venlo was in hands of first Margaretha van Vlaanderen and later the duke of Gelre. Not until 1379 did the city of Venlo receive the gruit. The city had no use for a gruithouse outside of the city walls. After the Groethof lost its function as a gruithouse, it functioned as a domicile. It was demolished just after 1950. Cityarchive, Venlo.

In older accounts from Zutphen we read about malt which was brought to the gruithuis. In 1395 the 88.5 mulder malt brought to the gruithuis made 120 pounds. This practice is also found outside of Zutphen. In 1324, for instance, the count of Holland ordered each brewer of the city of Dordrecht to give, for each ‘hoed’ malt (1 hoed is circa 1000 liter) he wanted to brew, 16 Hollandse pennings to the gruiter ‘en syn mout dat dairtoe behoort ende dair binnen zal him die gruter sine grute gheven’ [and his malt which belongs to it, and inside [the building?] he shall be given the gruit by the gruiter]. Not only was malt (occasionally?) brought to the gruithuis, the gruiters also purchased, on their own account, grain which they then made into malt. In Zutphen the gruiters spent 32 pounds for oats to make into malt, and for the horse. The same happened in the years 1406/1407, 1407/1408 and 1411/1412. We should remember here that in the Middle Ages oats were the grain beer was brewed with. The gruiter in Deventer purchased his grain already malted. A post is noted for malt (bracium) in the account of 1340 and also the account of 1344.
            What was the purchased malt or the making of malt by gruiters for and why did brewers bring their malt to the gruithuis? It seems likely the malt underwent another procedure. The malted grain kernels first have to be coarsely ground, called ‘schroten’. Only this way can the starch in the kernels combined with water be made into a mash. Because the gruithuis had a grinder, powered by a horse mill, it should not be surprising that this apparatus was also used for other grinding jobs. Therefore it should not be excluded that in the course of time the word gruit not only meant the grinding / pounding of herbs, but also the coarsely ground malt. After the Middle Ages the grinding of grain became almost synonymous with the ‘grutten’ business, although at that time the grain used most often was buckwheat. The ‘grutterij’, which by then always used a horse powered mill, is by all accounts a direct descendant of the medieval gruit business.
The accounts of Zutphen show no hard evidence for the statement that the gruetpeert [gruit horse] was also used for the grinding of grain, even though it seems plausible. Unambiguous evidence that at least the gruithuis of Deventer ground their malt is found in the accounts of 1345. In the expenses of the gruiters is an expense post ‘for the miller for the milling of grain in the gruithouse during one year’. Therefore we can expect in the gruithuizen of other cities a similar course of action, indicated by the similarities of the according to the sources present utensils & utilities.
            What was the function of the kettles and the tubs in the gruithuis? It is possible the kettles were used for the measurement of the amounts of gruit per ‘stampe’ [a unit] and that the tubs were used for the storage of the ‘stampen’. As mentioned before, the gruitmasters of Zwolle spent an amount of 16 plakvoir een cat daer men die grute inne sett’ [for a tub to place the gruit in] and an amount of 12 plakvoir oeren ketel dar men die grute mede sett’ [for a kettle with which the gruit is set with]. One needed tub and kettle to be able to determine (sett) at delivery the right amounts of gruit. On the other hand one could interpret ‘sett’ also as to make, in the current meaning of ‘zetten’ (as in making coffee ‘koffie zetten’). When this interpretation is used the procedures in the gruithuis  show an extra dimension [become even more interesting / intricate].



28. [L] That the gruitright was an important right is shown in part by the handsome city domicile of Lodewijk van Gruuthuse in Brugge, of which this is the monumental entrance. His predecessors received the gruit right around the year 1200 and named themselves after the right. Lodewijk van Gruuthuse became a powerful and rich man in part because of this right, and was employed for diplomatic service by the Duke of Burgundy.


29. [R] May 2nd, 1461 Lodewijk van Gruuthuse was elected into the Order of the Gulden Vlies [Order of the Golden Membrane] as a reward for his diplomatic services. This is a very special reward when one realizes that for instance the king of France and the duke of Burgundy were also members of this knightly order. Above the meeting room seats hung each member’s heraldic device. This is the device of Lodwijk van Gruuthuse. Saint Salvatorschurch, Brugge.

The administrative chambers' accounts of Deventer offer even more information on gruit. At the end of April, 1339, the city received the lease on gruitrecht from the Bishop of Utrecht. In 1340 for the facilities of a gruithuis, raw materials, tools and work clothes were bought on a large scale. The previously mentioned copper kettle and hanging apparatus were bought, and malt, peat and firewood. At the same time two new posts appeared at the income side of the accounts: those for ‘medulla brasii’ and ‘soppa fermenti’. ‘Medulla brasii’ means as much as the ‘core of the malt’ and ‘soppa fermenti’ is also mentioned in the accounts as ‘gruetsoppe’. This information points to something being brewed in Deventer. The ‘gruetketel’ points to this, as does the purchase of peat and firewood as fuel. The strongest clue actually is ‘gruetsoppe’. From this word can be derived a liquid was made, because in medieval Dutch the word ‘soppe’ has the meaning of ‘liquid food’.



30. A house from the 12th century was found in Delft at the Heilige Geest Kerkhof [Holy Ghost Cemetery]. The side walls were made of woven wicker and clay [daub], the front façade consisted of wooden boards. Several hearths were found in the [collapsed] house right above each other including many charcoaled grain kernels. The composition (mostly oats and no rye) indicates the brewing of beer.

The Deventer accounts show during each of the nine years (1340-1348) malt was produced and delivered. Malt is made by soaking coarsely ground grain in warm water. The inside of the grain kernel dissolves into the warm water, after which the mush was filtered. This filtered ‘mash’ is called ‘wort’. In the Deventer accounts this liquid was indicated with the Latin term ‘medulla brasii’. The separated wet mush was called ‘gruetsoppe’. Probably this is synonymous with what modern brewers call 'spent grains'. That no beer was brewed can be inferred from the fact that the word ‘cervisia’ (the Latin word for beer) does not show up anywhere in the accounts. The indicated ‘medulla’ therefore could be nothing else than a half product of beer. It is tempting to assign the making (setten) of wort to all the gruithouses in possession of a kettle and tubs. But without more indications one should not do so. In Deventer the accounts only show detailed posts during a nine year period. In later years the gruit accounts are not specified anymore and only the income of gruit is accounted for. While the making of wort is not clearly a part of the production in the gruithouse, it probably is more likely in the case of grinding the malt. The accounts do indicate that apart from herbs the gruithouse (stamphus) also ground malt for the production of beer.

Saturday, September 9, 2017

14-15th century soap recipes from The Crafte of Lymming and the Maner of Steyning, O.S. 347, part 3.

The Crafte of Lymming and the Maner of Steyning. O.S. 347.
Middle English Recipes for Painters, Stainers, Scribes and Illuminators. Edited by Mark Clarke. The Early English Text Society, published by the Oxford University Press, 2016.
© Translations by Susan Verberg, 2017

S7 London, British Library, MS Sloane 73 [#1700]
Part III. Individual Manuscripts; BL Sloane 73 (p. 204, 205, 206)

[Remainders of Text C, the majority edited with The Trinity Encyclopedist, p. 3.; blogged previously]

[§C1] Blak sope schal be maad of capital and of oyle togidre. ‘Capital’ is a lye: yt is maad of the axes of been halm {eÞer of wod ashen} and vnsleckid lym, but Þe axis schule be double to Þe lyme, and it schal be maad in the maner of lie, but after Þat it haÞ Þe strengÞe of Þe Þrift of Þe firste axen Þat Þou heldist it on: Þu schalt hilde it on newe axen til [it] be wel maad. It mot be cleer as lye, and so strong and Þicke Þat it wole bere an ey Þat it synke not to Þe ground. And Þanne put Þe clere lye in a vessel wel closid to Þe morwe… [Thereafter as T §58, to f.196v]

[§C1] Black soap shall be made of capital and of oil together. ‘Capital’ is a lye: it is made of the ashes of [bean stalks] {or of wood ashes} and unslaked lime, but the ashes should be double to the lime, and it shall be made in the manner of lye, but after that it has the strength of the leach of the first ashes that you hold [pour] it on: you shall hold it on new ashes until it is well made. It must be clear as lye, and so strong and thick that it will bear an egg that it sink not to the ground. And then put the clear lye in a vessel well closed to the [next] morning… [Thereafter as Trinity §58, to f.196v]

[§C2] {White Sope} Forto maken and forto turne blak sope into whit [=T §59]
[§C2] {White soap} To make and turn black soap into white [=Trinity §59]

[§C11] {Blak Sope} Here is anoÞer ressert of blac sope. Tak one buschel of wood ayhsis, and .j. bu[sh]el of lym vnquent, and .ij. buschelis of comun aschis, and medle hem wel togidere; Þanne tak .iij. or .iiij. or .v. or .vj. tubbes maad of half barelis ‘or’ of half tunnys, after Þat Þi werk is more or lesse, and set euery vessel by oÞer, and make a hool in euery vessel botme, and leye in euery vessel a quantite of straw; Þanne departe Þi forseide aysthis and put into euery vessel ylyche myche, Þanne tak water and put into euery vessel so Þat Þe aisches be wete Þorwh, and se Þat a litil of Þe water come Þorwhout, and serue so euery vessel, Þanne tak what water Þu wilt and put to Þi firste vessel what quantite Þu wilt after that Þu hast of ayschis, and let renne Þorwhout, and so Þorwhe Þe secunde, and so Þorwhe alle into Þe tyme Þat Þou leye a wollen cloÞ in Þi lye and it dissolue Þerynne, and Þat is Þe assay; Þanne tak a vessel wiÞ a deep botme, a panne or a furneys as Þe nediÞ, more or lesse after Þat Þi werk is, and put yn .iiij. galous of lye and a galoun of oyle de olyue, and raÞir Cyuyle Þan ony oÞer, and raÞur Þe groundis of tunys Þan clere oyle, and seÞ hem wiÞ strong fyer, and stere it wel among, and so contynue it to it wexe Þikke and blak, and Þis is Þe assay: tak a sklice and tak vp awey, and leye it vpon a cold ston, and whanne it is Þikke and blak ynowh, sette it fro Þe fyer, and put it in a barell or yn anoÞer vessel swich as Þu wilt.

[§C11] {Black Soap} Here is another recipe for black soap. Take one bushel of wood ashes and 1 bushel of unquenched lime, and 2 bushels of common ashes, and mix them well together, then take 3 or 4 or 5 or 6 tubs made of half barrels or of half tuns, after that the work is more or less [occasional], and set every vessel by the other [could also mean on top of each other], and make a hole in every bottom, and lay in every vessel a quantity of straw; then take the previously mentioned ashes and put into every vessel [the same], then take water and put into each vessel what quantity you want as that you have of ashes, and let it run throughout, and so through the second, and so through all until the time you lay a woolen cloth in the lye and it dissolves therein, and that is the assay; Then take a vessel with a deep bottom, a pan or a furnace as is needed, more or less after that your work is, and put in 4 gallons of lye and one gallon of oil of olive, and [???], and [?] the grounds of [?] then clear oil [???], and cook [simmer] it with strong fire, and stir it well together, and so continue this until it becomes thick and black, and this is the assay [test]: take a slice, take it up away, and lay it on a cold stone, and when it is thick and black enough [it does not slide down and pool], set it off the fire, and put it in a barrel or in another vessel as such as you want.

[§C12] {Whit sope} Tak twey bushell of wood ayschis, and a buschel of lyme, and Þre buschelis of comun ayschis so Þat be no ayschis of ook Þerynne, and brenn Þi comun aysches twyes, and make a leye in Þe same wyse as Y reherside bifore, and put it in a vessel wiÞ a flat botme, and in .ij. galouns of Þat lye put .iiij. li. of talowhe, what talowhe euer it be, and euer as it seÞiÞ put Þerto more of lye, into Þe tyme Þat o galoun be put yn [.vi. tymes], and loke it be wel ysterid among, and tak vp Þerof alwey to it be swich as Þu wilt haue, and contynue Þe fire wel and Þu schalt not faile.

[§C12] {White soap} Take two bushels of wood ashes, and a bushel of lime, and three bushels of common ashes so that there be no ashes of oak therein, and burn [I think he meant slake] the common ashes twice, and make a lye in the same manner as [is said on the reverse] before, and put it in a vessel with a flat bottom, and in 2 gallons of this lye put in 4 liters of tallow, what ever [kind of] tallow it might be, and ever as it cooks [simmer] put thereto more of the lye, until the time a gallon is put into it (6 times), and look it be well stirred around, and take up thereof [when it gets thick?] as you would have, and continue the fire well and you shall not fail.

D Cambridge, University Library, MS Dd.v.76 [#0379]
Part III, Smaller Collections (p. 222)

[§25] To make Spaynes sope wirke it Þus. Take a li. of gode blake sope, and a quarteron of whete flour pūred, and a quarteron of small salte, and temper Þam all togeder with cleyn water, and crusse Þam well togeder with Þi handes, and Þan put it in a forme made for it, and late it drye vp on a kake, and when it es nowther full drie no ful wett set Þeron Þi marke, and late it dru vp Þan at all Þe fulle agauyne Þe wynde and noght agayne sonne.

[§25] To make Spanish soap work it thus. Take a liter of good black soap, and a quarter of wheat flour sieved, and a quarter of small salt, and temper them all together with clean water, and crush them well together with your hands, and then put it in a form made for it, and let it dry up into a cake, and when it is not yet fully dry nor fully wet set thereupon your mark, and let it dry up then expose fully to the wind and not in the sun.

London, British Library, MS Sloane 963 [#1845]
Part III, Smaller Collections (p. 244)

[§BI] Forto make Frensche sope. Take vnqueynt lym and make powder therof, and bene assches, and medele all these togedyr, sumdel more of the bene assches than of the lym, and putte alle thses togedyr in oylle that ys old, and lete hit boylle togeder tyl that hit be thykke. And Þanne put hit in cofyns and hit ys thanne jmaad.

[§BI] For to make French soap. Take unquenched lime and make it into a powder, and bean ashes, and mix all these together, somewhat more of the bean ashes than of the lime, and put all these together in oil which is old, and let it boil together until it is thick. Then put it in molds and it is then made.

[§B2] Forto make whyt sope. Take bene assches, and nyȝ as moche of vnquent lym, and make thereof fyn lye; and of that lye take a galoun and to that galoun take o pynte of water that lym ys slekked in, and putte hyt togedyr, and put therto .iiij. li. of fyn puryd schepys talowgh, and late hit boylle tyl hit be ryȝt thykke, and thanne cofyn hyt, and Þanne hit ys maad.

[§B2] For to make white soap. Take bean ashes, and not as much of unquenched lime, and make thereof a fine lye; and of that lye take a gallon and to that gallon take a pint of water that the lime was slaked in, and put this together, and put thereto 4 liters of fine pure [or putrid] sheep tallow, and let it boil until it is right thick, and then mold it, and then it is made.

Oxford, Bodleian Library, MS Ashmole 750 [#2330]
Part III, Smaller Collections (p. 250)
[§A1] Forto mak whyte sope. Tak stondyng water, and askys of bene straw, and temper hem in a vessel, and set hem over the fyre and let hym bole wel togedre; a Þan put to hem a procion of vnsleccyd lyme, and bole hem wel togedre to Þat le wyl bere a ney, Þan tak doune thy panne and clens clene that lee Þrough a clothe; an put of that lee 3 potels in a panne, and do Þarto a povnd of clene moltyn talow, and bole hem wel togedre til it wex sumdel thyk. And Þan put Þerto a quarton of smal salte, and bole it til it wex wele thyke. Set it Þan downe and let it kele, and whan it is colde tak a sclyse and aforou Þroughoute thy mater in the panne, and poure out Þi blak water clene, than set it aȝeyn ouer the fyre and let it bole, and put Þerto a quartoun of bene askys temprid with colde lee as afore, and bole al togedre til it be thyk, and annone put it Þen fast into formes made like cofyns, and let it stond and kele to it be hard.

[§A1] For to make white soap. Take standing water, and ashes of bean straw, and temper it in a vessel, and set it over the fire and let it boil well together; and then put to it a portion of unslaked lime, and boil it wel together to that [it will bear an egg?], then take down your pan and clense clean the lye through a cloth; and put of that lye 3 potels [half a gallon] in a pan, and do thereto a quart of small salt [broken in small pieces], and boil it until it becomes well thick. Set it then down and let it cool, and when it is cold take a whisk and mix throughout the matter in the pan, and pour out the black water cleanly, then set it again over the fire and let it boil, and put thereto a quart of bean ashes tempered with cold lye as before, and boil it all together until it is thick, and at once put it then fast into formes made like coffins [molds] and let it stand and cool until it is hard.

[§A2] Forto mak whyte sope. Tak .iij. partes of lyme, and ‘two of’ askys of asche tree, and styr hem well, and powre oute the water, and sethe hem well togedre, and than streyne ‘Þi le’ thorow a clothe, and set it apon the feer and sethe we[ll] to the tyme will strik of a feder fro the pen; than tak .j. pownd of talow to euery galon of lee, and let it sethe well to it wexe thyk, and Þan put in salt .iij. or .iiij. hanful, and let it seythe a qwyle, and tak it doune.

[§A2] For to make white soap. Take 3 parts of lime, and two of ashes of the ash tree, and stir it well, and pour out the water, and cook [simmer] it well together, and then strain the lye through a cloth, and set it upon the fire and cook well until the time it will strike off the feather from the pen [dissolve the feather; makes it crumbly]; then take 1 pound of tallow to every gallon of lye, and let it cook [simmer] well until it becomes thick, and then put in salt 3 or 4 handfuls, and let it cook [simmer] a while, and take it down.