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Inquiring readers: Summer is my favorite time to eat vegetables – with corn succulently sweet, tomatoes bright red and juicy, blueberries plumb and flavorful, and oranges burst-in-your-mouth ripe. I’ve wondered for ages how people in centuries past stored, preserved, and prepared foods in a world without packaging, refrigeration, freezing, or canning. Out of necessity people ate foods that were fresh, and therefore nutritious and flavorful. This post discusses foods that were plucked, eaten, and prepared during the months of July through September (and beyond, depending on their preservation.)

Fantastic Hairdress with Fruit and Vegetable Motif 18th C, anonymous,French

Fantastic hairdress with fruit and vegetable motif, 18th c., anonymous. French. Public Domain, The Met Museum

Luckily, I found two websites that made my search for British food easy: one is for the seasonal foods of England at the The European Food Information Council. (See the list of fruits and vegetables below.) In that site I looked up fruits and vegetables in Great Britain, clicked on August, and received the following information on the food during this month. 

Fruits:

Bilberry, blackberry, blueberry, cherry, crab apple, elderberry, gooseberry, greengage, loganberry, plum, raspberry, redcurrent, strawberry, watermelon

Vegetables:

Artichoke, aubergine, beetroot, bell pepper, broad bean, broccoli, cabbage, carrot, cavolo nero, celery, chard, chili, courgette, cucumber, fennel, garlic, haricot bean, kohlrabi, lamb’s lettuce, mangetout, marrow, mushroom, onion, pak choi, pea, potato, radicchio, radish, rucola, runner bean, samphire, spinach, spring onion, sweet corn, tomato,  turnip, watercress

I also checked the National Trust site, which discusses foods in season in August  – July – and September. This site includes a more extensive list of foods, and suggests recipes as well. 

The foods listed in the EIFC are those available in Great Britain today. The variety of foods in Jane Austen’s day were different. I was curious to know which fruits and vegetables were readily available for a family in Steventon or Bath’s markets, particularly in late June through early September. For centuries, foods were imported into the British Isles through trade from far flung lands. Over time, the choice of produce increased, but which recipes were adapted by Austen’s contemporaries to take advantage of the influx of new spices and produce?

Eighteenth-century cookery books, such as Hannah Glasse’s The Art of Cookery Made Plain and Easy, provide vital clues, as do contemporary journals, such as James Woodforde’s Diary of a Country Parson. This man’s musings are filled with food references and dining habits. Both books provide colorful, real time descriptions of late 18th century dining habits. (I’ve chosen a time during Austen’s formative years, when her parents labored with family and servants in raising fruits, vegetables, and farm animals in Steventon.) Another good resource is Martha Lloyd’s Household Book, annotated by Julienne Gehrer, which discusses the recipes used by the Austen family and Jane’s close friend, Martha.

British food of yore:

This post concentrates primarily on fresh fruits and vegetables. Meat was plentiful for aristocrats throughout the year, and for the gentry, middle class, and landowners. (Rural poor suffered from the land enclosure acts (1604-1914), when communal lands were fenced off, which forced agricultural workers – who once fed their families in a communal fashion – to find menial work elsewhere.) This post does not discuss the difficulties the dispossessed found in finding food and work in cities, but focuses on Austen’s life and the people with whom she associated, and the food eaten by her social strata.

Renowned British food historian, Ivan Day, and Phillip Effingham, whose organization runs a Love Your Greens campaign, discussed the quintessential British vegetable in a 2011 article by BBC News. Food fads come and go, but Mr. Day chose the humble garden pea for its longevity in British food history.

“It grows easily throughout Britain, and has done for centuries. Its name dates from Chaucer’s time, when it was known as pease. In its dried form, the pea is the basis for traditional staples such as pease porridge. When eaten fresh, with little more than butter as a garnish, it was prized by Tudor kings and commoners alike as a welcome burst of bright green in summer.” – What is the UK’s national vegetable? – BBC News

Mr Effingham chose four vegetables: 

“Cauliflower, cabbage, carrots and onions. If I had to choose one, in terms of sales, versatility and year-round production in Britain, it would come down to the carrot …. Not the white, knobbly wild carrots native to Britain. He means the orange carrot, developed in the Netherlands during the reign of William of Orange.” – BBC News

As I researched information about foods eaten during the late 18th century, I found the following passage in Pastor Woodforde’s diary:

I read a good deal of the History of England today to Nancy whilst she was netting her Apron. Very dry again. I feed my Geese with Cabbage now. – Pastor Woodforde, July 24, 1781: Full text of “The Diary Of A Country Parson”

The cabbage growing season lasted year round, with planting scheduled in sequence. Therefore, the good pastor could feed fresh cabbages to his geese during a time of drought.

  • Summer cabbages: sow from late February/early March (under cloches or similar cover) until early May; transplant in May/June
  • Winter cabbages: sow in April/May; transplant in late June/July​
  • ​Spring cabbages: sow in July/August; transplant in September/October — Cabbages (RHS.org.uk)

Cabbage was also used in a Hannah Glasse recipe “To make Gravy for Soups, Etc.” She added two onions and a carrot, thus three of Mr Effingham’s choices were included. Mr Day’s peas were cooked in this manner: “If you have peas ready boiled, your soup will soon be ready made.” 

Hannah Glasse's recipe for making gravy for soups
Hannah Glasse’s recipe in The Art Of Cookery : Hannah Glasse : Free Download, Borrow, and Streaming : Internet Archive

Hannah also included a recipe of Peas Soup, which is so reminiscent of my Dutch mother’s pea soup. Her only addition was carrots, but Hannah’s recipe could be in my family’s recipe bank.

Peas Soup recipe

In a July entry in his diary, Woodforde mentioned peas and a gooseberry tart, in August he wrote of consuming mulberries and pears after dinner. The following passage from October 12, 1770, described the enormous amount of food he and his guests consumed in one day. Fruits and vegetables played a pale role against the copious servings of meat and liquor. Still, they were fresh. 

“Mrs. Carr, Miss Chambers, Mr. Hindley, Mr. Carr, and Sister Jane dined, supped and spent the evening with me, and we were very merry. I gave them for dinner a dish of fine Tench which I caught out of my brother’s Pond in Pond Close this morning, Ham, and 3 Fowls boiled, a Plumb Pudding ; a couple of Ducks rested, a roasted neck of Pork, a Plumb Tart and an Apple Tart, Pears, Apples and Nutts after dinner; White Wine and red. Beer and Cyder. Coffee and Tea in the evening at SIX o’clock. Hashed Fowl and Duck and Eggs and Potatoes etc. for supper. We did not dine till four o’clock — nor supped till ten. Mr. Rice, a Welshman who is lately come to Cary and plays very well on the Triple Harp, played to us after coffee for an hour or two . . . the Company did not go away till near twelve o’clock.”

The Parson’s fresh Tench, a fish that often substituted for carp, is rarely eaten today. (Wikipedia)

Little imagination is needed to understand why gout presented a common problem in the 18th century, for the condition is caused by excessive consumption of alcohol, meat, and sweets. The Pastor was a hardworking man, however, and on August 17th, 1770 he described a day of work, inserting comments about food and drink:

“Begun shearing my Wheat this morning and gave the shearers according to the Norfolk custom as under, a good breakfast, at ii o’clock plumb cakes with caraway seeds in them, and some Liquor, a good dinner with plumb Puddings and at 4 Beer again. N.B. the above are called elevens and fours’. Only Ben and Will my shearers of Wheat. Before the dew is off in the morn’ they mow Oats. My Wheat this year not above 4 Acres. They shear with sickles instead of Reap-Hooks. The form of them like a Reap-Hook but the Edge of it like a saw, and they do exceeding well. Will brewed this morning a barrel of Ale before he went shearing Wheat at 12 o’clock. – Woodforde

One can only imagine the calories the men expended before dining!

A food that Parson Woodforde mentioned repeatedly, regardless of the season, was plum pudding. Interestingly, this pudding’s traditional recipe is “made with raisins, currants and … suet — that’s the solid white fat surrounding the kidneys and loins of animals like cattle and sheep…”  – Plum pudding has no plums, and what it does have is odd. In other diary entries he also referenced Sugar Plumbs and Plumb Tart.

On May 1, 1772, the parson wrote, 

“In the evening Mr Creed, myself and the Counsellor [Melliar] walked down into Cary and saw the Fair, it being Cary Fair today I saw’ Miss Hannah Pew in the Fair and I gave her some Sugar Plumbs.”

Having never tasted a sugarplum, I researched the recipe.

“A 1668 British cookbook described sugarplum as being ‘small candy in the shape of a ball or disk; a sweetmeat.”  – A Sugar Plum is What You Make Of It – Washington Post

Sugar Plumps-description_image_Diderotcomfit1

Panning: adding layers of sweet which give sugar plums and comfits their hard shell. Visions of Sugar Plums, Jane Austen blog

The Historical Cookery Page provides detailed instructions for making sugar plums. It prefaces its recipe with this statement:

“The dictionary defines a sugarplum as a small round or oval piece of sugary candy. English being the flexible language it is, the name could have come from the resemblance to a small plum. Or it could have come from actual plums preserved in sugar, a relatively new idea in 16th Century England. Prior to this time sugar was so expensive that it was used very sparingly … In the 1540’s, however, sugar started being refined in London which lowered the price considerably … Preserving with sugar allowed the sweet fruits of summer to be enjoyed all year round, especially during the holiday season.”

plum variants

Screen shot of a few variety of plums

Plums were also known as a stone fruit, or a fruit with a hard pit, like cherries, peaches or apricots. The diversity of plums in color and size is astounding – over 2,000 varieties exist in the world. The plum traveled from China, where it was cultivated for thousands of years, and made its way across the world. With the various species grown in different climates, it was no wonder that nutritious plums (dried as prunes) were available year round. And yet … plum pudding had no plums!

As sailors discovered, fresh fruits in the form of oranges and lemons maintained health, preventing scurvy and promoting healthy gums and teeth, important to one’s health when dentistry was in its infancy and, frankly, barbaric. Plums (and many summer grown vegetables), attained peak season from July to August, although many were available from June through October. 

Pickling was one means of preserving fruits and vegetables for the long fall, winter, and early spring months. This pickling recipe from Martha Lloyd is all encompassing and can still be followed today:

India Pickles

Take half a pd: of Ginger put it in water one night scrape it & cut it in thin slices put it in a bowl with dry salt & let it stand till your other ingredients are fit. Take half a pd: of Garlic, peel & cut it in pieces put it in dry salt three days then wash it and put it in the sun to dry. Take a qt: of a pd: of Mustard seed bruised very fine; and oz: of Termrick [tumeric], a Gallon of the strongest vinegar, ptu these ingredients into a stone jar, let it be three parts full. Take white Cabbage, & quarter it keep it in dry salt three days, then dry it into the Sun. (to is scratched out.) Take white Cabbage & quarter it keep it in dry salt three days then dry it into the sun. So do Calliflowers, Cucumbers, Mellons, Peaches, plums Apples or any thing you of this sort. Radishes may be done the same way leaving on the young tops, also french beans & asparagus the three last are to be salted but two days & dried as the others. You need not empty your jar, but as things come in season put them in and fill it up with fresh vinegar. The more every thing is dried in the sun the plumper it will be in the pickle, if the pickles are not high colour’d enough, add a little more term’ric [tumeric] which makes it the colour of the india Mango. Never put red Cabbage or Walnuts because they spoil & discoulor all the rest. – Martha Lloyd, p 104

Preserving foods:

The methods of preservation Martha mentions in this recipe are salting or brining, pickling, and drying in the sun. Another method of preservation included boiling fruit in sugar or in a heavy syrup. If there was no sun, one method of drying was to place the fruit or vegetable in a cooling oven to draw out the moisture. 

Pickled vegetables and eggs were stored in glazed crocks, and soaked with vinegar (as Martha’s recipe directs), and were then covered with leather or a pig bladder. Sugared fruits preserved in heavy syrup was a costly method of preservation. Mold developing on top was scraped off.

Martha also mentioned curing, jugging, and potting. She made vinegar, jellies, and wine from fruits  in season including raspberries, currants, elderberries, and oranges. In addition to wine, her cookbook included beer recipes made with ginger or spruce. 

298px-Illustration_Ribes_uva-crispa0

Gooseberry (Ribes uva-crispa – botanical illustrations), 1885, wikimedia commons

Gooseberries were quite versatile. Martha’s recipes included the fruit to make cheese, wine, and vinegar. They were also dried, including grapes, and plums (which turned into prunes.) Gooseberry season started in June, but the fruit didn’t sweeten until July. They are suitable for cooking, but needed sweetening unless they were used as a savory. (Laura Mason & Catherine Brown, The Taste of Britain, British Food History)

The rich had additional methods of preserving food and eating fresh foods out of season. Orangeries, or a Georgian form of green houses, enabled fruits and vegetables to grow year round. Ice houses, dug deep into the ground, had thick walls for insulation. Straw or sawdust provided additional protection. Great blocks of ice were shipped from far northern climes and transported to grand houses all over England.

As a final comment, no matter how well vegetables and fruits were preserved, the best way to eat them was in season when they were freshly obtained from the earth, tree, bush or vine. 

Resources:

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Inquiring readers, It’s such a delight to receive first-hand information from a friend who lives in the U.K. Frequent contributor, Tony Grant, writes about his impressions of seeing the BBC2 special last Sunday entitled Pride and Prejudice: Having a Ball. The scenes were filmed in Chawton House wherein a Regency ball was reconstructed in a way that Jane Austen’s contemporaries knew well, but whose meanings in many instances have been lost to us. I had the privilege of watching the show as well and have interspersed my comments as if Tony and I were engaged in a dialogue. (Italics represent my comments.)  Let’s hope this special will be available soon the world over.

Amanda Vickery. Image courtesy of

Amanda Vickery and Alistair Sooke. Image courtesy of BBC2

It is Winter, 1813.

Amanda Vickery and Alaister Sooke, the art critic for The Daily Telegraph and who also presents art history programmes for the BBC, present this amazing programme. It is one and a half hours long and, being a BBC production, there are no breaks or intermissions.

The programme is a tribute to the two hundredth anniversary of the publication of Pride and Prejudice. The producers have taken the Netherfield Ball as their focus. They did not choose the Merryton Assembly ball, which was a public ball where everybody from the butcher, baker and candlestick maker was eligible to attend. The Netherfield Ball was a more intimate and select affair and by invitation only. One would be assured to rub shoulders with only the best families in the community.

Jane and her sister and mother lived in Chawton Cottage, where Pride and Prejudice was prepared for publication. It was a time when courtship was a serious business. “A woman must have a thorough knowledge of music, singing and drawing,” Jane wrote, and a man had to marry well if he was to secure his dynasty.

Research into costumes, food, dance, music, carriages, conversation and so on focussed on the year 1813.

Filming at night on Chawton House grounds

Filming at night on Chawton House grounds. Image courtesy of Chawton House

The writers and producers consulted and interviewed professors and experts about the minutiae of Georgian life. One professor, Jeanice Brooks at Southampton University, showed Alexander Sooke the very music manuscripts that Jane Austen wrote out by her hand with little cartoon doodlings in the margin.

Jane Austen doodle in a music manuscript

Jane Austen’s doodle in her music manuscript. Image @BBC2

That was one of the many wow moments for this viewer. (For me too, Tony!)

Popular music was widely collected at the time and summarized for the piano. Jane Austen must have spent hours copying music in her neat hand, for there are quite a number of her music manuscripts still in existence. 

ivan day food expert

Ivan day, historic food expert. Image @BBC2

The food was researched to the minutest degree. Ivan Day and his kitchen staff used Georgian cooking implements, although the Georgian cooking range at Chawton House was not in working order, so they used modern ovens. The recipes were authentic and came from Martha Lloyd’s cook book and other original Georgian documents.

Martha Lloyd's recipe for white soup, a common dish served at supper dances.

Martha Lloyd’s recipe for white soup, a common dish served at supper dances.

Food denoted status. Game shot on a gentleman’s land was turned into a partridge pie, a symbol of upper class dining. At the Netherfield Ball, Mr. Bingley would be sure to provide only the most excellent food, such as fresh grapes, nectarines and peaches in winter, which would have been expensive to import or grow indoors in hot houses. The grand spectacle of the supper table, with its silver platters, silver dishes, and silver tureens, gave an overall impression of austentation [sic] and of the host’s status. 

Ivan Day's recreation of Solomon's Temple, a very difficult flummery to recreate.

Ivan Day’s recreation of Solomon’s Temple, a very difficult flummery (Georgian jelly) to recreate. Image @BBC2

Stuart Marsden, an expert in Georgian dances and a former ballet dancer, assembled students from the dance department of Surrey University at Guildford, about twenty miles north of Chawton, to dance at the ball. Although these young dancers were fit and professional, in their Georgian costumes and in the full glare of hundreds of candles, they suffered from heat and encroaching exhaustion as the evening went on.

This fan served to cool the dancer and as a crib sheet, in which the steps of intricate dances were written down. Usually made of paper, few have survived.

This fan served to cool the dancer and as a crib sheet, in which the steps of intricate dances were written down. Usually made of paper, few of these fans have survived. As all fans of the Regency know, they also served as the perfect tool for flirtation. Image @BBC2

During the course of the evening, the dancers were supplied with Portugese wine and fortified negus punch. Punch a la Romaine, or Roman punch, was a mixture of rum or brandy with lemon water, lemon meringue and a very hot syrup. It was a sort of creamy iced drink that was 30 or 40 percent alcohol, a Georgian equivalent of a cold Coca Cola that cooled the dancers down between dances.

Punch a la Romaine

Punch a la Romaine. By the end of the night the dancers were a little tipsy, shall we say. The spoons used in the production belonged to the Prince Regent and came from Brighton Pavilion. Image @BBC.

Although Chawton House is large, the room where the dance was held seemed rather crowded once all the dancers were assembled. Candles blazed everywhere. The men wore stiff jackets, waistcoats, and neck high cravats. The ladies, whose bosoms were exposed, also wore many layers. They had donned swaths of petticoats under their skirts, and wore long stockings and long gloves. One can imagine that with the press of bodies, heat from the candles, constant exertion in long dance sets, and frequent imbibing of alcohol that the assembly quickly felt heated.

One can see from this image how crowded the ball room was and how 300 candles and all that exertion might have heated the dancers.

One can see from this image how crowded the ball room was, and how the blaze from 300 candles and hours of exertion might have heated the dancers. I was amazed at the lack of evident sweat.

It was interesting to find out that everybody knew how a long a dance would last from the length and quality of the candles. There were four-hour candles and six-hour candles. For this production eight-hour candles were used.

The finest, most expensive and clean burning candles were made of beeswax. Up to 300 might be used for a ball – quite an expense, for the cost was around £15, or a year’s wages for a manservant. Less expensive (and smokier and stinkier) were tallow candles, which were purchased by the less wealthy. The very poor had to make do with rush sticks, which didn’t last very long.

Peoples’ wealth and position in the upper and gentry classes were evident from the outset. Hierarchy pervaded all strata of Regency society. Social signifiers included the materials used for clothes, their style and the embellishments they had personally chosen for their costumes, the cut of the material and garment, the very buttons they had on their costumes, and so on. These details would reveal not only their status but their personalities too.

Professor Hillary Davidson explains the personal involvement that people had in their clothes, which were hand made.

Professor Hillary Davidson explains the personal involvement that people had in their clothes, which were hand made and reflected personal taste and input. In addition, the outfits “reflected the range of social rank and social division by cut, color, and texture.” Appearance meant everything at a ball. Many refashioned their frocks from hand-me-downs from an older sister or cousin, creating “hybrid” fashions, for the value of these outfits lay in the material, not the design of the dress. Individual details and features were immediately evident to Jane Austen’s contemporaries, for fashion and jewelry represented a public display of one’s assets. Image @BBC2

Silk would be worn by Miss Bingley, for it was a rich and expensive fabric. Miss Bingley and Miss Hurst would have worn the latest fashions from London, which is quite evident in the film costumes of Pride and Prejudice 1995. Lydia Bennet would have chosen a fine gown,  for she was fashion forward for a country girl (and her mama’s favorite), whereas Mrs. Bennet would have worn a print gown with a frilly but modest matronly cap that denoted her status as a woman with some authority. The Bingley sisters would have sneered at the simply styled hybrid dress that the Bennet sisters might have refashioned from a combination of old clothes and newer fabrics.  If you were a good needlewoman, such a gown might have been embellished with embroidery, lace, or ribbons.

Simple hybrid dress, much as Elizabeth Bennet might have worn. Notice the coral necklace.

Simple hybrid dress, much as Elizabeth Bennet might have worn. Notice the coral necklace.

Shoes were changed in the cloak room, for some people walked quite a distance to get to the ball, and even soldiers exchanged their Hessian boots for dancing slippers. Over the course of the evening, delicate dance slippers might be worn down to a thread.

Historical makeup and rouge pots. Too much, and a lady might be labeled a trollop.

These are Sally Pointer’s historical makeup and rouge pots for rosy cheeks (even for the redcoats, like Wickham). Apply too much color and a lady might be labeled a trollop. Image @BBC2

Everything – one’s clothes, actions, and relationships – how you arrived at the ball – could be read and interpreted. This was one of the main points made by the programme.

It’s not so different today, really, is it Tony? At a glance we can tell who is fashion forward, who is a frump. Whose jewelry reeks of Tiffany’s and who shopped at Walmart. We know from each others speech, friends and business associations, educational background, and other social signifiers who belongs in our social strata and who does not. My mother especially had a keen sense of which of my suitors suited and who did not. Her primary social signifiers were persons of moral character and compassion. It was who that person was inside that mattered, not what they wore or what possessions they had acquired. I suspect that during the Regency such distinctions were also important. Jane Austen was a genius at distinguishing wheat from chaff, and ferreting out the foibles of her contemporaries.

Walking to the ball carrying lanterns.

Walking to the ball carrying lanterns. The hooded cloaks reminded me of the medieval era and monks. Image@BBC2

I noticed how most of the actors in the production walked to the ball holding lanterns. Carriages were expensive. If possible, those who had carriages would arrange to pick others up and bring them. If not, the guests walked to the ball. A similar scene was shown in Becoming Jane, where guests arrived on foot and walked along a lane strung with lanterns. Back in those days balls were planned to coincide with a full moon for maximum light at night and for a bit of safety from bandits and robbers. One wonders about such well-laid plans in rainy England, where a blanket of storm clouds would block the moonlight and rain would soil the hems of delicate ball gowns.

The most interesting thing I found from the programme was the meaning of the dance. This Darcy quote, “every savage can dance,” is used to highlight that the dance alludes to something primal. Elizabeth and Darcy have their most unguarded conversation during a dance. Interestingly, the Savage Dance was a craze in 1813 and taken from a song and dance routine from a musical based on Robinson Crusoe.

Balls, to quote Amanda Vickery, were sexual arenas of social interaction. In Pride and Prejudice, Darcy and Elizabeth dance around their sexual attraction for each other. The truth is that in those days single men and well-protected young and unmarried ladies could not spend one moment in private with each other before they were officially engaged. But at a dance they could touch each other (through gloved hands) and flirt and talk at length without a chaperon breathing down their necks. The long dance sets were strenuous and required stamina, however. To quote Amanda Vickery, “The entire ball is hard work, with physical, social, and emotional investment and cost.” The cost being one of expenditure (looking one’s best) and exertion (maintaining one’s stamina.) 

dance chawton

Dancing the cotillion. Image @BBC2

Young ladies and young gentlemen practiced and prepared for the balls from childhood on. They had to be good and graceful at dancing to be admired and looked at. This was necessary for their futures, for they were actually dancing for their lives. You were likely to dance with a person from the same rank and expertise: they endured these dances for a very long time with one partner. There were moments of physical contact and movement. Aristocratic young men like Darcy sought strong and accomplished women to be the mother of their children for the sake of inheritance and future generations of their families. Young women needed to attract a good catch for their happiness and futures too. So much effort and hope was invested in the “ball,” for a girl’s future could be sealed at a dance.

No wonder the excitable Lydia Bennet went ballistic when the Netherfield Ball was announced! She was not only man crazy, but she had a competitive streak in her, frequently pitting herself against her older sisters. I was also struck by how much dancing masters could make per person from dance lessons. Every young boy and girl from a respectable family was expected to practice dance steps. It was quite a telling detail for Jane Austen’s contemporary readers that Mr. Collins is a poor dancer and that Mr. Elton exhibited such ungentlemanly conduct towards Miss Smith at the Crown Inn ball, where Mr. Knightley (a true knight in shining armour) came to her rescue and saved her from public humiliation. Mr. Elton’s reaction towards Miss Smith pointed out how much Emma misjudged Miss Smith’s tenuous connection to the gentry, for Mr. Elton thinks too highly of himself and his own social standing to ally himself to the bastard daughter of a gentleman.

 Alaister Sooke makes the comment that for all its finery and sophistication the ball (it was decorous and tightly controlled) was also primeval, with the subconscious very much in play. The way the dancers were dressed, with women revealing lots of cleavage and the men revealing their groins in tight-fitting trousers, was totally sexual in nature.

men's breeches

The dancers get fitted for their breeches, which revealed quite a bit of the male anatomy, especially the groin area. Image @BBC2.

You are so right, Tony. Let’s take the case of menswear ca. 1813. Although the colors were muted, the silhoutte was quite athletic. The front of a man’s coat was cut high so that his body was fully revealed in front from the waist down. Men tucked their long shirt tails between their legs, which served as underwear. Because their calves were exposed, it was important for men to dance well, since all their steps were in full view. Women’s legs were hidden by their skirts and they could make a mistake or two without much notice.  I was struck by how much the modern dancers enjoyed the evening and how much their costumes and the setting affected them.

corset

The ladies in the series wore authentic underwear. Underneath the muslins  and silks they wore undergarments consisting of a chemise and petticoat. There was actually a lot going on below the skirt, but the ladies  generally went knickerless. Even when women wore underdrawers, the crotch area remained open and they remained so until the late 19th c. or early 20th century.  Crotchless knickers were the norm! Image @BBC2

A courting couple made sure to reserve the supper dance for each other (or the dance just before the evening meal), for this meant that they could extend the time they spent together to include the meal, which was generally served at midnight. In the series, Ivan Day and his staff slaved to make the dishes, for they were served à la française (in the French style), or all at once. Preparing dishes for such a service required a great deal of skill and Herculean effort, for hot meals needed to be served hot, while delicate ices needed to remain frozen until they were consumed. At the dinner table in this special, a mild scene of chaos ensued, with servants bringing platters from one end of the table to the other, guests handing platters around, and others reaching across the table to sample a tidbit. Ragout of Veal, one of Jane Austen’s favorite dishes, was served. This dish was frequently mentioned by her, particularly in Pride and Prejudice. As an aside, one could readily discern at the supper ball which guests had manners and those who did not.

Ragout of

The ragout of veal at the supper dance was associated with high living. Image @BBC2

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As a blogger who is curious about all things in Jane Austen’s world and customs in her past that might have influenced her, I am still amazed at how one tiny clue points to another until I land on a series of sites that open up a whole new topic. While history foodies probably know about the elaborate lengths that pastry chefs took to please their patrons, the visual results of a full banquet are simply astounding. I can only assume that Georgian taste buds were equally pleased.

Modern chef and historian, Ivan Day, recreated a feast from the past using sugar structures and porcelain figures to arrange a fanciful garden centerpieces for the table.

I already knew about The Prince Regent’s elaborate 1811 dinner at Carlton House, which was described as thus:

“Along the centre of the table about six inches above the surface, a canal of pure water continued flowing from a silver fountain beautifully constructed at the head of the table. Its banks were covered with green moss aquatic flowers; gold and silver fish swam and sported through the bubbling current, which produced a pleasing murmur where it fell, and formed a cascade at the outlet.” – The Gentleman’s Magazine, describing the Prince Regent’s fete at Carlton House, June 19, 1811 in honor of the exiled French royal family.

The great kitchen at the Prince Regent’s Pavilion at Brighton could accommodate creating dishes for huge and fanciful banquets.

So great was the interest that the doors of Carlton House were opened for three days in a row. But instead of satisfying the curiosity of the masses, the result was ever-increasing crowds. Chaos ensued.

‘The condescension of the Prince in extending the permission to view the arrangements for the late fete at Carlton House has nearly been attended with fatal consequences,’ reported one newspaper. Read more: http://www.dailymail.co.uk/news/article-1039063/As-Queen-opens-Palace-Ballroom-public-story-decadent-royal-banquet-ever.html#ixzz1s7ijkAEv

Detail of the design for an elaborate garden centerpiece. These engravings were showcased in Le Cannameliste Français by famed confectionary chef, Joseph Gilliers, in the mid-18th century. View the entire centerpiece here: Click on this link.

The banquet featured a recreation of a landscape at its center. Such a method of decorating a table was not new, especially when it came to desserts. Elaborate set pieces with architectural French influence were created for tables using spun sugar and Sevres bisque figures to create fantasy landscapes. Before the Napoleonic Wars, travel over the English Channel between British and French courtiers and diplomats was common, and thus the French chef’s custom of creating these elaborate centerpieces became well-known in England. Upper class households vied for highly paid (and desired) French chefs, and by the 1820s these gentlemen had by and large invaded British upper class kitchens. Their ability to create dishes that feasted both the eyes and the stomach was unrivaled.

 SEVRES BISCUIT FIGURES CIRCA 1755, Modeled after François Boucher. Image @Christies.

This was an era when confectionary was considered as much a branch of the decorative arts as of cuisine, and porcelain for the table represented prestige as well as a demonstration of power. The combination of French chef, porcelain, and fanciful confectionary desserts served as symbols of prestige and wealth, for no ordinary household could offer such an extravagant display of food and panoply. (View this porcelain table centerpiece set.)

Detail of Gilliers’ templates for cut outs.

Most of the images of the banquets and figurines are copyrighted. I encourage you to click on the links to view the spectacular results of sugar and porcelain table centerpieces that mimic gardens, sculptures, and figures based on famous paintings. The fanciful recreation included redesigning tables as well.

Modern version of Gilliers table. Image @Simon Beer.

Gilliers’ 1751 sketch of the table, plus seating.

Amy Hauft, VCU sculpture department. Confectioner Joseph Gilliers conceived his 100-seat rococo fantasy for the serving of a single course — dessert — in a garden setting. The centerpiece atop the tailored white tablecloth was to be a sculpture made of sugar paste fortified with dried sturgeon bladder. There is no record that this table was ever built by Gilliers. Image@Richmond Times Dispatch

More on this fascinating topic:

Ivan Day’s  pavilion made from a “pastillage sugar paste for an exhibition at the Met in NYC two years ago. They were exact replicas of ones made for Maria Theresa, the Empress of Austria in 1740. “

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