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Home Page > Business > International Business > Netherlandish Proverbs

Netherlandish Proverbs

ESPN Reporter Erin Andrews Sues Hotel Chains Over Peeping Tom Case

Posted: Sep 03, 2010 |Comments: 0
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Detail

There are around 100 identifiable idioms in the scene (although Bruegel may have included others). Some are still in use today, amongst them: “swimming against the tide”, “big fish eat little fish”, “banging one’s head against a brick wall” and “armed to the teeth”, and there are some that are familiar if not identical to the modern English usage, such as “casting roses before swine”. Many more have faded from use or have never been used in English, “having one’s roof tiled with tarts” for example which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne. The Blue Cloak referred to in the painting’s original title is being placed on the man in the centre of the picture by his wife. This was indicative that she was cheating on him. Other proverbs indicate mankind’s foolishness: a man fills in a pond after his calf has died, just above the central figure of the blue-cloaked man another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel’s intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sat next to a man shearing a pig, so represents the expression “one shears sheep and one shears pigs” meaning that one has the advantage over the other, but he may also represent the advice “shear them but don’t skin them” meaning make the most of your assets.

Expressions featured in the painting

Proverb

Meaning

Location

To even be able to tie the devil to a pillow

Obstinacy overcomes everything

To be a pillar-biter

To be a religious hypocrite

To carry fire in one hand and water in the other

To be two-faced and to stir up trouble

To bang one’s head against a brick wall

To try to achieve the impossible

One foot shod, the other bare

Balance is paramount

The sow pulls the bung

Negligence will be rewarded with disaster

To bell the cat

To be indiscreet about plans that should be secret

To be armed to the teeth

To be heavily armed

To be an iron-biter

To be boastful/ indiscreet

One shears sheep, the other shears pigs

One has all the advantages, the other none

Shear them but do not skin them

Do not press your advantage too far

The herring does not fry here

Things do not go according to plan

To fry the whole herring for the sake of the roe

To do too much to achieve a little

To get the lid on the head

To end up taking responsibility

The herring hangs by its own gills

You must accept responsibility for your own actions

There is more in it than an empty herring

There is more to it than meets the eye

What can smoke do to iron?

There is no point in trying to change the unchangeable

To find the dog in the pot

To arrive too late to prevent trouble

To sit between two stools in the ashes

To be indecisive

To be a hen feeler

To count one’s chickens before they hatch

The scissors hang out there

They are liable to cheat you there

To always gnaw on a single bone

To continually talk about the same subject

It depends on the fall of the cards

It is up to chance

The world is turned upside down

Everything is the opposite of what it should be

Leave at least one egg in the nest

Always have something in reserve

To shit on the world

To despise everything

To lead each other by the nose

To fool each other

The die is cast

The decision is made

Fools get the best cards

Luck can overcome intelligence

To look through one’s fingers

To be indulgent

There hangs the knife

To issue a challenge

There stand the wooden shoes

To wait in vain

To stick out the broom

To have fun while the master is away

To marry under the broomstick

To live together without marrying

To have the roof tiled with tarts

To be very wealthy

To have a hole in one’s roof

To be unintelligent

An old roof needs a lot of patching up

Old things need more maintenance

The roof has lathes

There could be eavesdroppers (The walls have ears)

To have toothache behind the ears

To be a malingerer

To be pissing against the moon

To waste one’s time on a futile endeavour

Here hangs the pot

It is the opposite of what it should be

To shoot a second bolt to find the first

To repeat a foolish action

To shave the fool without lather

To trick somebody

Two fools under one hood

Stupidity loves company

It grows out of the window

It cannot be concealed

To play on the pillory

To attract attention to one’s shameful acts

Where the gate is open the pigs will run into the corn

Disaster ensues from carelessness

Where the corn decreases the pig increases

If one person gains then another must lose

To run like one’s backside is on fire

To be in great distress

He who eats fire, shits sparks

Do not be surprised at the outcome if you attempt a dangerous venture

To hang one’s cloak according to the wind

To adapt one’s viewpoint to the current opinion

To toss feathers in the wind

To work fruitlessly

To gaze at the stork

To waste one’s time

To want to kill two flies with one stroke

To be efficient (equivalent to today’s To kill two birds with one stone)

To fall from the ox onto the ass

To fall on hard times

To kiss the ring of the door

To be insincere

To wipe one’s backside on the door

To treat something lightly

To go around shouldering a burden

To imagine that things are worse than they are

One beggar pities the other standing in front of the door

To fish behind the net

To miss an opportunity

Big fish eat little fish

To be unable to see the sun shine on the water

To be jealous of another’s success

It hangs like a privy over a ditch

It is obvious

Anybody can see through an oak plank if there is a hole in it

There is no point in stating the obvious

They both shit through the same hole

They are in agreement

To throw one’s money into the water

To waste one’s money

A wall with cracks will soon collapse

Anything poorly managed will soon fail

To not care whose house is on fire as long as one can warm oneself at the blaze

To take every opportunity regardless of the consequences to others

To drag the block

To be deceived by a lover or to work at a pointless task

Fear makes the old woman trot

An unexpected event can reveal unknown qualities

Horse droppings are not figs

Do not be fooled by appearances

If the blind lead the blind both will fall in the ditch

There is no point in being guided by others who are equally ignorant

The journey is not yet over when one can discern the church and steeple

Do not give up until the task is fully complete

Everything, however finely spun, finally comes to the sun

Nothing can be hidden forever

To keep one’s eye on the sail

To stay alert, be wary

To shit on the gallows

To be undeterred by any penalty

Where the carcass is, there fly the crows

If the evidence points to something it is likely to be true

It is easy to sail before the wind

If conditions are favourable it is not difficult to achieve one’s goal

Who knows why geese go barefoot?

There is a reason for everything, though it may not be obvious

If I am not meant to be their keeper, I will let geese be geese

Do not interfere in matters that are not your concern

To see bears dancing

To be starving

Wild bears prefer each other’s company

Peers get along better with each other than with outsiders

To throw one’s cowl over the fence

To discard something without knowing whether it will be required later

It is ill to swim against the stream

It is difficult to oppose the general opinion

The pitcher goes to the water until it finally breaks

Everything has its limitations

The best straps are cut from somebody else’s leather

Men cut the largest straps from other men’s leather/It is easy to take from others work.

To hold an eel by the tail

To undertake a difficult task

To fall through the basket

To have your deception uncovered

To be suspended between heaven and earth

To be in an awkward situation

To take the hen’s egg and let the goose’s egg go

To make a bad decision

To yawn against the oven

To attempt more than one can manage

To be barely able to reach from one loaf to another

To have difficulty living within budget

A hoe without a handle

Probably something useless

To look for the hatchet

To try to find an excuse

Here he is with his lantern

To finally have an opportunity to show a talent

A hatchet with a handle

Probably signifies “the whole thing”

He who has spilt his porridge cannot scrape it all up again

Once something is done it cannot be undone

To put a spoke in someone’s wheel

To put up an obstacle, to destroy someone’s plans

Love is on the side where the money bag hangs

Love can be bought

To pull to get the longest end

To attempt to get the advantage

To stand in one’s own light

To be proud of oneself

No one looks for others in the oven who has not been in there himself

To imagine wickedness in others is a sign of wickedness in oneself

To have the world spinning on one’s thumb

To have every advantage

To tie a flaxen beard to the face of Christ

To hide deceit under a veneer of Christian piety

To have to stoop to get on in the world

To succeed one must be devious

To cast roses before swine

To waste effort on the unworthy

To fill the well after the calf has drowned

To take action only after a disaster

To be as patient as a lamb

To be very patient

She puts the blue cloak on her husband

She deceives him

Watch out that a black dog does not come in between

When two women are together a barking dog is not needed to add to the trouble they will cause

One winds on the distaff what the other spins

Both spread gossip

To carry the day out in baskets

To waste one’s time

To hold a candle to the Devil

To flatter and make friends indiscriminately

To confess to the Devil

To reveal secrets to one’s enemy

The pig is stabbed through the belly

A foregone conclusion or what is done can not be undone

Two dogs over one bone seldom agree

To argue over a single point

To be a skimming ladle

To be a parasite or sponger

What is the good of a beautiful plate when there is nothing on it?

Beauty does not make up for substance

The fox and the crane entertain each other

Two deceivers always keep their own advantage in mind

To blow in the ear

To spread gossip

To chalk up

To make sure to remember

The meat on the spit must be basted

Certain things need constant attention

There is no turning the spit with him

He is uncooperative

To sit on hot coals

To be impatient

To catch fish without a net

To profit from the work of others

Notes

^ From a list detailing the proverbs and meanings published by the Staatliche Museen zu Berlin and reproduced in Hagen pp.36-7.

^ The dirt on the painting makes it almost impossible to make out the dog here.

^ a b The exact proverb depicted is not known with certainty.

^ a b The exact meaning of the proverb is not known.

^ This is a reference to one of Aesop’s Fables.

References

Rainer Hagen (2000). Rose-Marie Hagen. ed. Bruegel: The Complete Paintings. Taschen. pp. 96. ISBN 3822859915.

Patrick De Rynck (1963). How to Read a Painting: Lessons from the Old Masters. New York: Abrams. pp. 379. ISBN 0810955768.

“”The Netherlandish Proverbs” by Pieter Brueghel the Younger”. Fleming Museum, University of Vermont. 2004. http://www.uvm.edu/~fleming/index.php?category=exhibitions&page=netherlandish. Retrieved 18 May 2007.

The Netherlandish Proverbs: An International Symposium on the Pieter Brueg(h)els, ed. by Wolfgang Mieder. University of Vermont. 2004.

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Great Fire Of London

Posted on 23 January 2011. Tags: Fire, Great, London

Great Fire Of London

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Home Page > Business > Industrial > Great Fire Of London

Great Fire Of London

The King’s Cross Fire in London

Posted: Oct 10, 2010 |Comments: 0
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London in the 1660s

Central London in 1666, with the burnt area shown in pink.

By the 1660s, London was by far the largest city in Britain, estimated at half a million inhabitants, which was more than the next fifty towns in England combined. Comparing London to the Baroque magnificence of Paris, John Evelyn called it a “wooden, northern, and inartificial congestion of Houses,” and expressed alarm about the fire hazard posed by the wood and about the congestion. By “inartificial”, Evelyn meant unplanned and makeshift, the result of organic growth and unregulated urban sprawl. A Roman settlement for four centuries, London had become progressively more overcrowded inside its defensive City wall. It had also pushed outwards beyond the wall into squalid extramural slums such as Shoreditch, Holborn, and Southwark and had reached far enough to include the independent City of Westminster.

By the late 17th century, the City properhe area bounded by the City wall and the River Thamesas only a part of London, covering some 700 acres (2.8 km2; 1.1 sq mi), and home to about 80,000 people, or one sixth of London’s inhabitants. The City was surrounded by a ring of inner suburbs, where most Londoners lived. The City was then as now the commercial heart of the capital, and was the largest market and busiest port in England, dominated by the trading and manufacturing classes. The aristocracy shunned the City and lived either in the countryside beyond the slum suburbs, or in the exclusive Westminster district (the modern West End), the site of Charles II’s court at Whitehall. Wealthy people preferred to live at a convenient distance from the traffic-clogged, polluted, unhealthy City, especially after it was hit by a devastating outbreak of bubonic plague in the Plague Year of 1665.

The relationship between the City and the Crown was very tense. During the Civil War, 16421651, the City of London had been a stronghold of Republicanism, and the wealthy and economically dynamic capital still had the potential to be a threat to Charles II, as had been demonstrated by several Republican uprisings in London in the early 1660s. The City magistrates were of the generation that had fought in the Civil War, and could remember how Charles I’s grab for absolute power had led to that national trauma. They were determined to thwart any similar tendencies of his son, and when the Great Fire threatened the City, they refused the offers Charles made of soldiers and other resources. Even in such an emergency, the idea of having the unpopular Royal troops ordered into the City was political dynamite. By the time Charles took over command from the ineffectual Lord Mayor, the fire was already out of control.

Panorama of the City of London in 1616 by Claes Visscher. Note the tenement housing on London Bridge (far right), a notorious death-trap in case of fire, although much had been destroyed in an earlier fire in 1632.

Fire hazards in the City

Charles II.

The City was essentially medieval in its street plan, an overcrowded warren of narrow, winding, cobbled alleys. It had experienced several major fires before 1666, the most recent in 1632. Building with wood and roofing with thatch had been prohibited for centuries, but these cheap materials continued to be used. The only major stone-built area was the wealthy centre of the City, where the mansions of the merchants and brokers stood on spacious lots, surrounded by an inner ring of overcrowded poorer parishes whose every inch of building space was used to accommodate the rapidly growing population. These parishes contained workplaces, many of which were fire hazardsoundries, smithies, glaziers’hich were theoretically illegal in the City, but tolerated in practice. The human habitations intermingled with these sources of heat, sparks, and pollution were crowded to bursting point and their construction increased the fire risk: the typical six- or seven-storey timbered London tenement houses had “jetties” (projecting upper floors): they had a narrow footprint at ground level, but would maximise their use of land by “encroaching”, as a contemporary observer put it, on the street with the gradually increasing size of their upper storeys. The fire hazard posed when the top jetties all but met across the narrow alleys was well perceived”as it does facilitate a conflagration, so does it also hinder the remedy”, wrote one observerut “the covetousness of the citizens and connivancy [that is, the corruption] of Magistrates” worked in favour of jetties. In 1661, Charles II issued a proclamation forbidding overhanging windows and jetties, but this was largely ignored by the local government. Charles’ next, sharper, message in 1665 warned of the risk of fire from the narrowness of the streets and authorised both imprisonment of recalcitrant builders and demolition of dangerous buildings. It too had little impact.

The river front was important in the development of the Great Fire. The Thames offered water for firefighting and the chance of escape by boat, but the poorer districts along the riverfront had stores and cellars of combustibles which increased the fire risk. All along the wharves, the rickety wooden tenements and tar paper shacks of the poor were shoehorned amongst “old paper buildings and the most combustible matter of Tarr, Pitch, Hemp, Rosen, and Flax which was all layd up thereabouts.” London was also full of black powder, especially along the river front. Much of it was left in the homes of private citizens from the days of the English Civil War, as the former members of Cromwell’s New Model Army still retained their muskets and the powder with which to load them. Five to six hundred tons of powder were stored in the Tower of London at the north end of London Bridge. The ship chandlers along the wharves also held large stocks, stored in wooden barrels.

17th century firefighting

“Firehooks” used to fight a fire at Tiverton in Devon, England, 1612.

Advertisement for a comparatively small and manoeuvrable seventeenth-century fire engine on wheels: “These Engins, (which are the best) to quinch great Fire; are made by John Keeling in Black Fryers (after many years’ Experience).”

Fires were common in the crowded wood-built city with its open fireplaces, candles, ovens, and stores of combustibles. There was no police or fire department to call, but London’s local militia, known as the Trained Bands, was at least in principle available for general emergencies, and watching for fire was one of the jobs of the watch, a thousand watchmen or “bellmen” who patrolled the streets at night. Self-reliant community procedures for dealing with fires were in place, and were usually effective. Public-spirited citizens would be alerted to a dangerous house fire by muffled peals on the church bells, and would congregate hastily to fight the fire. The methods available for this relied on demolition and water. By law, the tower of every parish church had to hold equipment for these efforts: long ladders, leather buckets, axes, and “firehooks” for pulling down buildings (see illustration right). Sometimes taller buildings were levelled to the ground quickly and effectively by means of controlled gunpowder explosions. This drastic method of creating firebreaks was increasingly used towards the end of the Great Fire, and modern historians believe it was what finally won the struggle.

Failures in fighting the fire

London Bridge, the only physical connection between the City and the south side of the river Thames, was itself covered with houses and had been noted as a deathtrap in the fire of 1632. By dawn on Sunday these houses were burning, and Samuel Pepys, observing the conflagration from the Tower of London, recorded great concern for friends living on the bridge. There were fears that the flames would cross London Bridge to threaten the borough of Southwark on the south bank, but this danger was averted by an open space between buildings on the bridge which acted as a firebreak. The 18 foot (5.5 m) high Roman wall enclosing the City put the fleeing homeless at risk of being shut into the inferno. Once the river front was on fire and the escape route by boat cut off, the only exits were the eight gates in the wall. During the first couple of days, few people had any notion of fleeing the burning City altogether: they would remove what they could carry of their belongings to the nearest “safe house”, in many cases the parish church, or the precincts of St. Paul’s Cathedral, only to have to move again hours later. Some moved their belongings and themselves “four and five times” in a single day. The perception of a need to get beyond the walls only took root late on the Monday, and then there were near-panic scenes at the narrow gates as distraught refugees tried to get out with their bundles, carts, horses, and wagons.

The crucial factor which frustrated firefighting efforts was the narrowness of the streets. Even under normal circumstances, the mix of carts, wagons, and pedestrians in the undersized alleys was subject to frequent traffic jams and gridlock. During the fire, the passages were additionally blocked by refugees camping in them amongst their rescued belongings, or escaping outwards, away from the centre of destruction, as demolition teams and fire engine crews struggled in vain to move in towards it.

Demolishing the houses downwind of a dangerous fire by means of firehooks or explosives was often an effective way of containing the destruction. This time, however, demolition was fatally delayed for hours by the Lord Mayor’s lack of leadership and failure to give the necessary orders. By the time orders came directly from the King to “spare no houses”, the fire had devoured many more houses, and the demolition workers could no longer get through the crowded streets.

The use of water to extinguish the fire was also frustrated. In principle, water was available from a system of elm pipes which supplied 30,000 houses via a high water tower at Cornhill, filled from the river at high tide, and also via a reservoir of Hertfordshire spring water in Islington. It was often possible to open a pipe near a burning building and connect it to a hose to play on a fire, or fill buckets. Further, Pudding Lane was close to the river. Theoretically, all the lanes from the river up to the bakery and adjoining buildings should have been manned with double rows of firefighters passing full buckets up to the fire and empty buckets back down to the river. This did not happen, or at least was no longer happening by the time Pepys viewed the fire from the river at mid-morning on the Sunday. Pepys comments in his diary that nobody was trying to put it out, but instead they fled from it in fear, hurrying “to remove their goods, and leave all to the fire.” The flames crept towards the river front with little interference from the overwhelmed community and soon torched the flammable warehouses along the wharves. The resulting conflagration not only cut off the firefighters from the immediate water supply from the river, but also set alight the water wheels under London Bridge which pumped water to the Cornhill water tower; the direct access to the river and the supply of piped water failed together.

London possessed advanced fire-fighting technology in the form of fire engines, which had been used in earlier large-scale fires. However, unlike the useful firehooks, these large pumps had rarely proved flexible or functional enough to make much difference. Only some of them had wheels, others were mounted on wheelless sleds. They had to be brought a long way, tended to arrive too late, and, with spouts but no delivery hoses, had limited reach. On this occasion an unknown number of fire engines were either wheeled or dragged through the streets, some from across the City. The piped water that they were designed to use had already failed, but parts of the river bank could still be reached. As gangs of men tried desperately to manoeuvre the engines right up to the river to fill their reservoirs, several of the engines toppled into the Thames. The heat from the flames was by then too great for the remaining engines to get within a useful distance; they could not even get into Pudding Lane.

Development of the fire

The personal experiences of many Londoners during the fire are glimpsed in letters and memoirs. The two most famous diarists of the Restoration, Samuel Pepys (16331703) and John Evelyn (16201706), recorded the events and their own reactions day by day, and made great efforts to keep themselves informed of what was happening all over the City and beyond. For example, they both travelled out to the Moorfields park area north of the City on the Wednesdayhe fourth dayo view the mighty encampment of distressed refugees there, which shocked them. Their diaries are the most important sources for all modern retellings of the disaster. The most recent books on the fire, by Tinniswood (2003) and Hanson (2001), also rely on the brief memoirs of William Taswell (165182), who was a fourteen-year-old schoolboy at Westminster School in 1666.

After two rainy summers in 1664 and 1665, London had lain under an exceptional drought since November 1665, and the wooden buildings were tinder-dry after the long hot summer of 1666. The bakery fire in Pudding Lane spread at first due west, fanned by an eastern gale.

Sunday

Approximate damage by the evening of Sunday, 2 September.

“It made me weep to see it.” Samuel Pepys (16331703) painted by John Hayls in 1666, the year of the Great Fire.

A fire broke out at Thomas Farriner’s bakery in Pudding Lane a little after midnight on Sunday, 2 September. The family was trapped upstairs, but managed to climb from an upstairs window to the house next door, except for a maidservant who was too frightened to try, and became the first victim. The neighbours tried to help douse the fire; after an hour the parish constables arrived and judged that the adjoining houses had better be demolished to prevent further spread. The householders protested, and the Lord Mayor Sir Thomas Bloodworth, who alone had the authority to override their wishes, was summoned. When Bloodworth arrived, the flames were consuming the adjoining houses and creeping towards the paper warehouses and flammable stores on the river front. The more experienced firefighters were clamouring for demolition, but Bloodworth refused, on the argument that most premises were rented and the owners could not be found. Bloodworth is generally thought to have been appointed to the office of Lord Mayor as a yes man, rather than for any of the needful capabilities for the job; he panicked when faced with a sudden emergency. Pressed, he made the often-quoted remark “Pish! A woman could piss it out”, and left. After the City had been destroyed, Samuel Pepys, looking back on the events, wrote in his diary on 7 September 1666: “People do all the world over cry out of the simplicity [the stupidity] of my Lord Mayor in general; and more particularly in this business of the fire, laying it all upon him.”

On Sunday morning, Pepys, who was a senior official in the Navy Office, ascended the Tower of London to view the fire from a turret, and recorded in his diary that the eastern gale had turned it into a conflagration. It had burned down several churches and, he estimated, 300 houses, and reached the river front. The houses on London Bridge were burning. Taking a boat to inspect the destruction around Pudding Lane at close range, Pepys describes a “lamentable” fire, “everybody endeavouring to remove their goods, and flinging into the river or bringing them into lighters that lay off; poor people staying in their houses as long as till the very fire touched them, and then running into boats, or clambering from one pair of stairs by the water-side to another.” Pepys continued westward on the river to the court at Whitehall, “where people come about me, and did give them an account dismayed them all, and word was carried in to the King. So I was called for, and did tell the King and Duke of Yorke what I saw, and that unless his Majesty did command houses to be pulled down nothing could stop the fire. They seemed much troubled, and the King commanded me to go to my Lord Mayor from him, and command him to spare no houses, but to pull down before the fire every way.” Charles’ brother James, Duke of York, offered the use of the Royal Life Guards to help fight the fire.

A mile west of Pudding Lane, by Westminster Stairs, young William Taswell, a schoolboy who had bolted from the early morning service in Westminster Abbey, saw some refugees arrive in hired lighter boats, unclothed and covered only with blankets. The services of the lightermen had suddenly become extremely expensive, and only the luckiest refugees secured a place in a boat.

The fire spread quickly in the high wind. By mid-morning on Sunday, people abandoned attempts at extinguishing the fire and fled; the moving human mass and their bundles and carts made the lanes impassable for firefighters and carriages. Pepys took a coach back into the city from Whitehall, but only reached St. Paul’s Cathedral before he had to get out and walk. Handcarts with goods and pedestrians were still on the move, away from the fire, heavily weighed down. The parish churches not directly threatened were filling up with furniture and valuables, which would soon have to be moved further afield. Pepys found Mayor Bloodworth trying to coordinate the firefighting efforts and near to collapse, “like a fainting woman”, crying out plaintively in response to the King’s message that he was pulling down houses. “But the fire overtakes us faster then [sic] we can do it.” Holding on to his civic dignity, he refused James’ offer of soldiers and then went home to bed. King Charles II sailed down from Whitehall in the Royal barge to inspect the scene. He found that houses were still not being pulled down, in spite of Bloodworth’s assurances to Pepys, and daringly overrode the authority of Bloodworth to order wholesale demolitions west of the fire zone. The delay rendered these measures largely futile, as the fire was already out of control.

By Sunday afternoon, 18 hours after the alarm was raised in Pudding Lane, the fire had become a raging firestorm which created its own weather. A tremendous uprush of hot air above the flames was driven by the chimney effect wherever constrictions such as jettied buildings narrowed the air current and left a vacuum at ground level. The resulting strong inward winds did not tend to put the fire out, as might be thought: instead, they supplied fresh oxygen to the flames, and the turbulence created by the uprush made the wind veer erratically both north and south of the main, easterly, direction of the gale which was still blowing.

In the early evening, with his wife and some friends, Pepys went again on the river “and to the fire up and down, it still encreasing.” They ordered the boatman to go “so near the fire as we could for smoke; and all over the Thames, with one’s face in the wind, you were almost burned with a shower of firedrops.” When the “firedrops” became unbearable, the party went on to an alehouse on the south bank and stayed there till darkness came and they could see the fire on London Bridge and across the river, “as only one entire arch of fire from this to the other side of the bridge, and in a bow up the hill for an arch of above a mile long: it made me weep to see it.” Pepys described this arch of fire as “a bow with God’s arrow in it with a shining point.”

Monday

The London Gazette for 3 September10 September, facsimile front page with an account of the Great Fire. Click on the image to enlarge and read.

By dawn on Monday, 3 September, the fire was principally expanding north and west, the turbulence of the firestorm pushing the flames both further south and further north than the day before. The spread to the south was in the main halted by the river, but had torched the houses on London Bridge, and was threatening to cross the bridge and endanger the borough of Southwark on the south bank of the river. Southwark was preserved by a pre-existent firebreak on the bridge, a long gap between the buildings which had saved the south side of the Thames in the fire of 1632 and now did so again. The fire’s spread to the north reached the financial heart of the City. The houses of the bankers in Lombard Street began to burn on Monday afternoon, prompting a rush to get their stacks of gold coins, so crucial to the wealth of the city and the nation, to safety before they melted away. Several observers emphasise the despair and helplessness which seemed to seize Londoners on this second day, and the lack of efforts to save the wealthy, fashionable districts which were now menaced by the flames, such as the Royal Exchangeombined bourse and shopping mallnd the opulent consumer goods shops in Cheapside. The Royal Exchange caught fire in the late afternoon, and was a smoking shell within a few hours. John Evelyn, courtier and diarist, wrote:

The conflagration was so universal, and the people so astonished, that from the beginning, I know not by what despondency or fate, they hardly stirred to quench it, so that there was nothing heard or seen but crying out and lamentation, running about like distracted creatures without at all attempting to save even their goods, such a strange consternation there was upon them.

Evelyn lived four miles (6 km) outside the City, in Deptford, and so did not see the early stages of the disaster. On Monday, joining many other upper-class people, he went by coach to Southwark to see the view that Pepys had seen the day before, of the burning City across the river. The conflagration was much larger now: “the whole City in dreadful flames near the water-side; all the houses from the Bridge, all Thames-street, and upwards towards Cheapside, down to the Three Cranes, were now consumed”. In the evening, Evelyn reported that the river was covered with barges and boats making their escape piled with goods. He observed a great exodus of carts and pedestrians through the bottleneck City gates, making for the open fields to the north and east, “which for many miles were strewed with moveables of all sorts, and tents erecting to shelter both people and what goods they could get away. Oh, the miserable and calamitous spectacle!”

Approximate damage by the evening of Monday, 3 September.

John Evelyn (16201706) in 1651.

Suspicion soon arose in the threatened city that the fire was no accident. The swirling winds carried sparks and burning flakes long distances to lodge on thatched roofs and in wooden gutters, causing seemingly unrelated house fires to break out far from their source and giving rise to rumours that fresh fires were being set on purpose. Foreigners were immediately suspect due to the ongoing Second Anglo-Dutch War. As fear and suspicion hardened into certainty on the Monday, reports circulated of imminent invasion, and of foreign undercover agents seen casting “fireballs” into houses, or caught with hand grenades or matches. There was a wave of street violence. William Taswell saw a mob loot the shop of a French painter and level it to the ground, and watched in horror as a blacksmith walked up to a Frenchman in the street and hit him over the head with an iron bar. The fears of terrorism received an extra boost from the disruption of communications and news as facilities were devoured by the fire. The General Letter Office in Threadneedle Street, through which post for the entire country passed, burned down early on Monday morning. The London Gazette just managed to put out its Monday issue before the printer’s premises went up in flames (this issue contained mainly society gossip, with a small note about a fire that had broken out on Sunday morning and “which continues still with great violence”). The whole nation depended on these communications, and the void they left filled up with rumours. There were also religious alarms of renewed Gunpowder Plots. As suspicions rose to panic and collective paranoia on the Monday, both the Trained Bands and the Coldstream Guards focused less on firefighting and more on rounding up foreigners, Catholics, and any odd-looking people, and arresting them or rescuing them from mobs, or both together.

The inhabitants, especially the upper class, were growing desperate to remove their belongings from the City. This provided a source of income for the able-bodied poor, who hired out as porters (sometimes simply making off with the goods), and especially for the owners of carts and boats. Hiring a cart had cost a couple of shillings on the Saturday before the fire; on the Monday it rose to as much as 40, a small fortune (equivalent to over 4000 in 2005). Seemingly every cart and boat owner within reach of London made their way towards the City to share in these opportunities, the carts jostling at the narrow gates with the panicked inhabitants trying to get out. The chaos at the gates was such that the magistrates ordered the gates shut on Monday afternoon, in the hope of turning the inhabitants’ attention from safeguarding their own possessions to the fighting of the fire: “that, no hopes of saving any things left, they might have more desperately endeavoured the quenching of the fire.” This headlong and unsuccessful measure was rescinded the next day.

Even as order in the streets broke down, especially at the gates, and the fire raged unchecked, Monday marked the beginning of organised action. Bloodworth, who as Lord Mayor was responsible for coordinating the fire-fighting, had apparently left the City; his name is not mentioned in any contemporary accounts of the Monday’s events. In this state of emergency, Charles again overrode the City authorities and put his brother James, Duke of York, in charge of operations. James set up command posts round the perimeter of the fire, press-ganging any men of the lower classes found in the streets into teams of well-paid and well-fed firefighters. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens’ misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. “The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire”, wrote a witness in a letter on 8 September.

On the Monday evening, hopes were dashed that the massive stone walls of Baynard’s Castle, Blackfriars, the western counterpart of the Tower of London, would stay the course of the flames. This historic royal palace was completely consumed, burning all night.

A contemporary account said that, that day or later, King Charles II in person worked manually to help to throw water on flames and to help to demolish buildings to make a firebreak.

Tuesday

Tuesday, 4 September, was the day of greatest destruction. The Duke of York’s command post at Temple Bar, where The Strand met Fleet Street, was supposed to stop the fire’s westward advance towards the Palace of Whitehall. Making a stand with his firefighters from the Fleet Bridge and down to the Thames, James hoped that the River Fleet would form a natural firebreak. However early on Tuesday morning the flames jumped over the Fleet, driven by the unabated easterly gale, and outflanked them, forcing them to run for it. There was consternation at the palace as the fire continued implacably westward: “Oh, the confusion there was then at that court!” wrote Evelyn.

Working to a plan at last, James’ firefighters had also created a large firebreak to the north of the conflagration. It contained the fire until late afternoon, when the flames leaped across and began to destroy the wide, affluent luxury shopping street of Cheapside.

Everybody had thought St. Paul’s Cathedral a safe refuge, with its thick stone walls and natural firebreak in the form of a wide, empty surrounding plaza. It had been crammed full of rescued goods and its crypt filled with the tightly packed stocks of the printers and booksellers in adjoining Paternoster Row. However an enormous stroke of bad luck meant that the building was covered in wooden scaffolding, undergoing piecemeal restoration by a then relatively unknown Christopher Wren. The scaffolding caught fire on Tuesday night. Leaving school, young William Taswell stood on Westminster Stairs a mile away and watched as the flames crept round the cathedral and the burning scaffolding ignited the timbered roof beams. Within half an hour, the lead roof was melting, and the books and papers in the crypt caught with a roar. “The stones of Paul’s flew like grenados, the melting lead running down the streets in a stream, and the very pavements glowing with fiery redness, so as no horse, nor man, was able to tread on them”, reported Evelyn in his diary. The cathedral was quickly a ruin.

During the day, the flames began to move due east from the neighbourhood of Pudding Lane, straight against the prevailing east wind towards Pepys’ home on Seething Lane and the Tower of London with its gunpowder stores. After waiting all day for requested help from James’ official firefighters, who were busy in the west, the garrison at the Tower took matters into their own hands and created firebreaks by blowing up houses in the vicinity on a large scale, halting the advance of the fire.

Wednesday

James, Duke of York, later James II.

The wind dropped on Tuesday evening, and the firebreaks created by the garrison finally began to take effect on Wednesday, 5 September. Pepys walked all over the smouldering city, getting his feet hot, and climbed the steeple of Barking Church, from which he viewed the destroyed City, “the saddest sight of desolation that I ever saw.” There were many separate fires still burning themselves out, but the Great Fire was over. Pepys visited Moorfields, a large public park immediately north of the City, and saw a great encampment of homeless refugees, “poor wretches carrying their good there, and every body keeping his goods together by themselves”, and noted that the price of bread in the environs of the park had doubled. Evelyn also went out to Moorfields, which was turning into the main point of assembly for the homeless, and was horrified at the numbers of distressed people filling it, some under tents, others in makeshift shacks: “Many [were] without a rag or any necessary utensils, bed or board… reduced to extremest misery and poverty.” Evelyn was impressed by the pride of these distressed Londoners, “tho’ ready to perish for hunger and destitution, yet not asking one pennie for relief.”

Fears of foreign terrorists and of a French and Dutch invasion were as high as ever among the traumatised fire victims, and on Wednesday night there was an outbreak of general panic in the encampments at Parliament Hill, Moorfields and Islington. A light in the sky over Fleet Street started a story that 50,000 French and Dutch immigrants, widely rumoured to have started the fire, had risen and were marching towards Moorfields to finish what the fire had begun: to cut the men’s throats, rape the women, and steal their few possessions. Surging into the streets, the frightened mob fell on any foreigners they happened to encounter, and were, according to Evelyn, only “with infinite pains and great difficulty” appeased and pushed back into the fields by the Trained Bands, troops of Life Guards, and members of the court. The mood was now so volatile that Charles feared a full-scale London rebellion against the monarchy. Food production and distribution had been disrupted to the point of non-existence; Charles announced that supplies of bread would be brought into the City every day, and safe markets set up round the perimeter. These markets were for buying and selling; there was no question of distributing emergency aid.

Deaths and destruction

James Shirley

The LONDONERS Lamentation, a broadside ballad published in 1666 giving an account of the fire, and of the limits of its destruction. Click on the image to enlarge and read.

Only a few deaths from the fire are officially recorded, and deaths are traditionally believed to have been few. Porter gives the figure as eight and Tinniswood as “in single figures”, although he adds that some deaths must have gone unrecorded and that, besides direct deaths from burning and smoke inhalation, refugees also perished in the impromptu camps. Hanson takes issue with the idea that there were only a few deaths, enumerating known deaths from hunger and exposure among survivors of the holocaust, “huddled in shacks or living among the ruins that had once been their homes” in the cold winter that followed, including, for instance, the dramatist James Shirley and his wife. Hanson also maintains that “it stretches credulity to believe that the only papists or foreigners being beaten to death or lynched were the ones rescued by the Duke of York”, that official figures say very little about the fate of the undocumented poor, and that the heat at the heart of the firestorms, far hotter than an ordinary house fire, was enough to consume bodies fully, or leave only a few skull fragments. The fire, fed not merely by wood, fabrics, and thatch, but also by the oil, pitch, coal, tallow, fats, sugar, alcohol, turpentine, and gunpowder stored in the riverside district, melted the imported steel lying along the wharves (melting point between 1,250 C (2,300 F) and 1,480 C (2,700 F)) and the great iron chains and locks on the City gates (melting point between 1,100 C (2,000 F) and 1,650 C (3000 F)). Nor would anonymous bone fragments have been of much interest to the hungry people sifting through the tens of thousands of tons of rubble and debris after the fire, looking for valuables, or to the workmen clearing away the rubble later during the rebuilding. Appealing to common sense and “the experience of every other major urban fire down the centuries”, Hanson emphasises that the fire attacked the rotting tenements of the poor with furious speed, surely trapping at the very least “the old, the very young, the halt and the lame” and burying the dust and ashes of their bones under the rubble of cellars; making for a death toll not of four or eight, but of “several hundred and quite possibly several thousand.”

The material destruction has been computed at 13,500 houses, 87 parish churches, 44 Company Halls, the Royal Exchange, the Custom House, St. Paul’s Cathedral, the Bridewell Palace and other City prisons, the General Letter Office, and the three western city gates, Ludgate, Newgate, and Aldersgate. The monetary value of the loss, first estimated at 100,000,000 in the currency of the time, was later reduced to an uncertain 10,000,000 (over 1 billion in 2005 pounds). Evelyn believed that he saw as many as “200,000 people of all ranks and stations dispersed, and lying along their heaps of what they could save” in the fields towards Islington and Highgate.

Aftermath

Approximate damage by the evening of Tuesday, 4 September. The fire did not spread significantly on Wednesday, 5 September.

Ludgate in flames, with St. Paul’s Cathedral in the distance (square tower without the spire) now catching flames. Oil painting by anonymous artist, ca. 1670.

John Evelyn’s plan never carried out, for rebuilding a radically different City of London.

Sir Christopher Wren.

The Monument to the Great Fire of London to commemorate the Great Fire of London, designed by Sir Christopher Wren

An example of the urge to identify scapegoats for the fire is the acceptance of the confession of a simple-minded French watchmaker, Robert Hubert, who claimed he was an agent of the Pope and had started the Great Fire in Westminster. He later changed his story to say that he had started the fire at the bakery in Pudding Lane. Hubert was convicted, despite some misgivings about his fitness to plead, and hanged at Tyburn on 28 September 1666. After his death, it became apparent that he had not arrived in London until two days after the fire started. These allegations that Catholics had started the fire were exploited as powerful political propaganda by opponents of pro-Catholic Charles II’s court, mostly during the Popish Plot and the exclusion crisis later in his reign.

Abroad the Great Fire of London was seen as a Divine retribution, the Lord punishing the English for Holmes’s Bonfire, the burning of a Dutch town three weeks earlier during the Second Anglo-Dutch War.

In the chaos and unrest after the fire, Charles II feared another London rebellion. He encouraged the homeless to move away from London and settle elsewhere, immediately issuing a proclamation that “all Cities and Towns whatsoever shall without any contradiction receive the said distressed persons and permit them the free exercise of their manual trades.” A special Fire Court was set up to deal with disputes between tenants and landlords and decide who should rebuild, based on ability to pay. The Court was in session from February 1667 to September 1672. Cases were heard and a verdict usually given within a day, and without the Fire Court, lengthy legal wrangles would have seriously delayed the rebuilding which was so necessary if London was to recover. Encouraged by Charles, radical rebuilding schemes for the gutted City poured in. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence (see Evelyn’s plan on the right). The Crown and the City authorities attempted to establish “to whom all the houses and ground did in truth belong” in order to negotiate with their owners about compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight and Richard Newcourt proposed rebuilding plans.

With the complexities of ownership unresolved, none of the grand Baroque schemes for a City of piazzas and avenues could be realised; there was nobody to negotiate with, and no means of calculating how much compensation should be paid. Instead, much of the old street plan was recreated in the new City, with improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. New public buildings were created on their predecessors’ sites; perhaps the most famous is St. Paul’s Cathedral and its smaller cousins, Christopher Wren’s 50 new churches.

On Charles’ initiative, a Monument to the Great Fire of London, designed by Christopher Wren and Robert Hooke, was erected near Pudding Lane. Standing 61 metres tall and known simply as “The Monument”, it is a familiar London landmark which has given its name to a tube station. In 1668 accusations against the Catholics were added to the inscription on the Monument which read, in part:

Here by permission of heaven, hell broke loose upon this Protestant city…..the most dreadful Burning of this City; begun and carried on by the treachery and malice of the Popish faction…Popish frenzy which wrought such horrors, is not yet quenched…

Aside from the four years of James II’s rule from 1685 to 1689, the inscription remained in place until 1830 and the passage of the Catholic Emancipation Act.

Another monument, the Golden Boy of Pye Corner in Smithfield, marks the spot where the fire stopped. According to the inscription, the fact that the fire started at Pudding Lane and stopped at Pye Corner was an indication that the Fire was evidence of God’s wrath on the City of London for the sin of gluttony.

The Great Plague epidemic of 1665 is believed to have killed a sixth of London’s inhabitants, or 80,000 people, and it is sometimes suggested, as plague epidemics did not recur in London after the fire, that the fire saved lives in the long run by burning down so much unsanitary housing with their rats and their fleas which transmitted the plague. Historians disagree as to whether the fire played a part in preventing subsequent major outbreaks. The Museum of London website claims that there was a connection, while historian Roy Porter points out that the fire left the most insalubrious parts of London, the slum suburbs, untouched. Alternative epidemiological explanations have been put forward, along with the observation that the disease disappeared from almost every other European city around the same time.

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English embroidery

Posted on 20 January 2011. Tags: embroidery, English

English embroidery

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English embroidery

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Medieval period

Anglo-Saxon

Detail of stitching on the Bayeux Tapestry.

Little physical evidence survives to reconstruct the early development of English embroidery before the Norman Conquest of 1066. Stitches reinforcing the seams of a garment in the Sutton Hoo ship burial may have been intended as decoration, and so be classed as embroidery, and fragments of a scrolling border worked in stem stitch were recovered from a grave in Kempston, Bedfordshire. Some embroidered pieces of about 850 preserved in Maaseik, Belgium, are generally assumed to be Anglo-Saxon work based on their similarity to contemporary manuscript illustrations and sculptures of animals and interlace.

The documentary evidence is rather richer than the physical remains. Part of the reason for both these facts is the taste among the late Anglo-Saxon elite for embroidering using lavish amounts of precious metal thread, especially gold, which both gave items a magnificence and expense worth recording, and meant that they were well worth burning to recover the bullion. Three old vestments, almost certainly Anglo-Saxon, recycled in this way at Canterbury Cathedral in the 1370s, produced over 250 of gold – a huge amount. Richly embroidered hangings were used in both churches and the houses of the rich, but vestments were the most richly embellished of all, of a “particularly English” richness. Most of these were sent back to Normandy or burnt for their metal after the Norman conquest. An image of part of a huge gold acanthus flower on the back of a gold-bordered chasuble, almost certainly depicting a specific real vestment, can be seen in the Benedictional of St. thelwold (fol. 118v).

Scholars agree that three embroidered items from the coffin of St Cuthbert in Durham are Anglo-Saxon work, based on an inscription describing their commission by Queen lffld between 909 and 916. These include a stole and maniple ornamented with figures of prophets outlined in stem stitch and filled with split stitch, with halos in gold thread worked with underside couching. The quality of this silk embroidery on a gold background is “unparalleled in Europe at this time.”

Scholarly consensus favours an Anglo-Saxon, probably Kentish origin for the Bayeux tapestry. This famous narrative of the Conquest is not a true woven tapestry but an embroidered hanging worked in wool yarn on a tabby-woven linen ground using outline or stem stitch for lettering and the outlines of figures, and couching or laid work for filling in figures.
Opus Anglicanum

Main article: Opus Anglicanum

The Butler-Bowden Cope, 13301350, V&A Museum no. T.36-1955.

The Anglo-Saxon embroidery style combining split stitch and couching with silk and goldwork in gold or silver-gilt thread of the Durham examples flowered from the 12th to the 14th centuries into a style known to contemporaries as Opus Anglicanum or “English work”. Opus Anglicanum was made for both ecclesiastical and secular use on clothing, hangings, and other textiles. It was usually worked on linen or dark silks, or later, worked as individual motifs on linen and applied to velvet.

Throughout this period, the designs of embroidery paralleled fashions in manuscript illumination and architecture. Work of this period often featured continuous light scrolls and spirals with or without foliations, in addition to figures of kings and saints in geometrical frames or Gothic arches.

Opus Anglicanum was famous throughout Europe. A “Gregory of London” was working in Rome as a gold-embroiderer to Pope Alexander IV in 1263, and the Vatican inventory in Rome of 1295 records well over 100 pieces of English work. Notable surviving examples of Opus Anglicanum include Syon Cope and the Butler-Bowden Cope of 133050 in the Victoria and Albert Museum, embroidered with silver and silver-gilt thread and coloured silks on silk velvet, which was disassembled and later reassembled into a cope in the 19th century.

Professional embroiderers

By the 13th century, most English goldwork was made in London workshops, which produced ecclesiastical work, clothing and furnishings for royalty and the nobility, heraldic banners and horse-trappings, and the ceremonial regalia for the great Livery Companies of the City of London and for the court.

The founding of the embroiderer’s guild in London is attributed to the 14th century or earlier, but its early documents were lost in the Great Fire of London in the 17th century. An indenture of 23 March 1515 records the establishment of Broderers’ Hall in Cutter Lane in that year,, and the guild was officially incorporated (or reincorporated) by Royal Charter under Elizabeth I in 1561 as the Worshipful Company of Broderers. Professional embroiders were also attached to the great households of England, but it is unlikely that those working far from London were members of the Company.

From the middle of the 14th century, money that had previously been spent on luxury goods like lavish embroidery was redirected to military expenditure, and imported Italian figured silks competed with native embroidery traditions. Varieties of design in textiles succeeded each other very rapidly, and they were more readily available than the more leisurely produced needlework. The work produced by the London workshops was simplified to meet the demands of this deteriorating market. The new techniques required less work and smaller quantities of expensive materials. Surface couching replaced underside couching, and allover embroidery was replaced by individual motifs worked on linen and then applied to figured silks or silk velvets. Increasingly, designs for embroidery were derived directly from woven patterns, “thus losing not only their former individuality and richness, but also their former … story-telling interest.”

Renaissance to Restoration

Elizabeth I wears a blackwork chemise and partlet and a gown embroidered with gold thread and studded with pearls. The Phoenix Portrait by Nicholas Hilliard, c. 157576

The second great flowering of English embroidery, after Opus Anglicanum, took place in the reign of Elizabeth I.

Although the majority of surviving English embroidery from the medieval period was intended for church use, this demand decreased radically with the Protestant Reformation. In contrast, the bulk of the surving embroidery of the Tudor, Elizabethan, and Jacobean eras is for domestic use, whether for clothing or household decoration. The stable society that existed between the accession of Elizabeth in 1558 and the English Civil War encouraged the building and furnishing of new houses, in which rich textiles played a part. Some embroidery was imported in this period, including the canvas work bed valances once thought to be English but now attributed to France, but the majority of work was made in Englandnd increasingly, by skilled amateurs, mostly women, working domestically, to designs by professional men and women, and later to published pattern books.

Tudor and Jacobean styles

A general taste for abundant surface ornamentation is reflected in both household furnishings and in fashionable court clothing from the mid-16th century through the reign of James I. A 1547 account of the wardobe of Henry VIII shows that just over half of the 224 items were ornamented with embroidery of some kind, and embroidered shirts and accessories were popular New Year’s gift to the Tudor monarchs. Fine linen shirts, chemises, ruffs, collars, coifs and caps were embroidered in monochrome silks and edged in lace. The monochrome works are classified as blackwork embroidery even when worked in other colours; red, crimson, blue, green, and pink were also popular.

Outer clothing and furnishings of woven silk brocades and velvets were ornamented with gold and silver embroidery in linear or scrolling patterns, applied bobbin lace and passementerie, and small jewels.

Margaret Laton’s embroidered jacket is typical of the early 17th century style. This jacket has survived and is in the Victoria and Albert Museum.

Appliqu work was popular in the Tudor era, especially for large-scale works such as wall hangings. In Medieval England, rich clothing had been bequeathed to the church to be remade into vestments; following the dissolution of the monasteries at the Reformation, the rich silks and velvets of the great monastic houses were cut up and repurposed to make hangings and cushions for private homes. Shapes cut from opulent fabrics and small motifs or slips worked on fine linen canvas were applied a background fabric of figured silk, velvet, or plain wool and embellished with embroidery, in a style deriving from the later, simpler forms of Medieval work.

Canvaswork in which the linen ground was covered entirely by tent, gobelin, or cross stitches in wool or silk thread was often used for cushion covers and small bags. Notable examples like the Bradford carpet, a pictorial table cover, were likley the work of professionals in the Broderers’ Company.

Polychrome (multicoloured) silk embroidery became fashionable in the reign of Elizabeth, and from c. 1590 to 1620 a uniquely English fashion arose for embroidered linen jackets worn informally or as part of masquing costume. These jackets usually featured scrolling floral patterns worked in a multiplicity of stitches. Similar patterns worked in 2-ply worsted wool called crewel on heavy linen for furnishings are characteristic of Jacobean embroidery.

Pattern sources

Blackwork embroidery of the 1530s (left) and 1590s (right).

Pattern books for geometric embroidery and needlelace were published in Germany as early as the 1520s. These featured the stepped, angular patterns characteristic of early blackwork, ultimately deriving from medieval Islamic Egypt. These patterns, seen in the portraits of Hans Holbein the Younger, were worked over counted threads in a double running stitch (later called Holbein stitch by English embroiderers).

The first pattern book for embroidery published in England was Moryssche & Damaschin renewed & encreased very popular for Goldsmiths & Embroiderers by Thomas Geminus (1545).Moryssche refers to Moorish or arabesque designs of spirals, scrolls, and zigzags. Scrolling patterns of flowers and leaves filled with geometric filling stitches are characteristic of blackwork from the 1540s through 1590s, and similar patterns worked in coloured silks appear from the 1560s, outlined in backstitch and filled with detached buttonhole stitch.

Additional pattern books for embroiderers appeared late in the century, followed by Richard Shorleyker’s A Schole-house for the Needle published in London in 1624. Other sources for embroidery designs were the popular herbals and emblem books. Both domestic and professional embroiderers probably relied on skilled draughtsmen or pattern-drawers to interpret these design sources and draw them out on linen ready to be stitched.

Early samplers

English blackwork cushion cover, late 16th century, made from a woman’s dress. Linen embroidered with silk and metallic thread, using buttonhole, chain, double running, overcast, plaited braid, and square open work stitches. Art Institute of Chicago textile collection.

Main article: Sampler (needlework)

Printed patterns books were not easily obtainable, and a sampler or embroidered record of stitches and patterns was the most common form of reference. 16th century English samplers were stitched on a narrow band of fabric and totally covered with stitches. These band samplers were highly valued, often being mentioned in wills and passed down through the generations. These samplers were stitched using a variety of needlework styles, threads, and ornament.

The earliest dated surviving sampler, housed in the Victoria and Albert Museum, was made by Jane Bostocke who included her name and the date 1598 in the inscription, but the earliest documentary reference to sampler making goes back another hundred years, to the 1502 household expense accounts of Elizabeth of York, which record the purchase of an ell of linen to make a sampler for the queen.

From the early 17th century, samplers became a more formal and stylized part of a girl’s education, even as the motifs and patterns on the samplers faded from fashion.

Pictorial embroidery and stumpwork

Main article: Stumpwork

Mirror frame with stumpwork figures of Charles I and Henrietta Maria, 1630s

Following the death of James I and the accession of Charles I, elaborately embroidered clothing faded from popularity under the dual influences of rising Puritanism and the new court’s taste for French fashion with its lighter silks in solid colours accessorised with masses of linen and lace. In this new climate, needlework was praised by moralists as an appropriate occupation for girls and women in the home, and domestic embroidery for household use flourished. Embroidered pictures, mirror frames, workboxes, and other domestic objects of this era often depicted Biblical stories featuring characters dressed in the fashion of Charles and his queen Henrietta Maria, or after the Restoration, Charles II and Catherine of Braganza.

These stories were executed in canvaswork or in coloured silks in a uniquely English style called raised work, usually known by its modern name stumpwork. Raised work arose from the detached buttonhole stitch fillings and braided scrolls of late Elizabethan embroidery. Areas of the embroidery were worked on white or ivory silk grounds in a variety of stitches and prominent features were padded with horsehair or lambswool, or worked around wooden shapes or wire frames. Ribbons, spangles, beads, small pieces of lace, canvaswork slips, and other objects were added to increase the dimensionality of the finished work.

Crewel

Main articles: Crewel Work and Jacobean embroidery

Fanciful crewel leaf motif

Sets of bed hangings embroidered in crewel wools were another characteristic product of the Stuart era. These were worked on a new fabric, a natural twill weave from Bruges with a linen warp and cotton weft. Crewel wools of the 17th century were firmly twisted unlike the soft wools sold under that name today, and were dyed in deep rich shades of green, blue, red, yellow, and brown. Motifs of flowers and trees, with birds, insects, and animals, were worked at large scale in a variety of stitches. The origins of this work are in the polychrome embroidery on scrolling stems of the Elizabethan era, later blended with the Tree of Life and other motifs of Indian palampores, introduced by the trade of the East India Company.

After the Restoration, the patterns became ever more fanciful and exuberant. “It is an almost impossible task to describe the large leaves, since they bear no resemblance to anything natural, they are, however, rarely angular in outline, rejoicing rather in sweeping curves, and drooping points, curled over to display the under side of the leaf, a device that gave opening for much ingenuity in the arrangement of the stitches.”

Although usually called “Jacobean embroidery” by modern stitchers, crewel has its origins in the reign of James I but remained popular through the reign of Queen Anne and into the early 18th century, when a return to the simpler forms of the earliest work became fashionable.

Glorious Revolution to the Great War

Later Stuart

The accession of William III and Mary II following the Glorious Revolution of 1688 triggered another change in needlework fashions. Associations of stumpwork with the reign of the deposed Stuarts combined with Mary’s Dutch taste ushered in new styles influenced by Indian chintzes. From the 1690s, household furnishings such as chair covers and firescreens were the focus of embroidery in the home.

Georgian

Stoke Edith Wall Hanging, linen canvas embroidered with silk and wool, with some details in appliqu, 1710-1720 V&A Museum no. T.568-1996.

In the Georgian era, canvaswork was popular for chair coverings, footstools, screens and card tables. Embroidered pictures and upholstery both reflected the popular pastoral theme of men and women in the sheep-cropped English countryside. Other recurring themes include exotic Tree of Life patterns influenced by earlier crewelwork and chinoiserie with its fanciful imagery of an imaginary China, asymmetry in format and whimsical contrasts of scale. In contrast, needlepainting in silks and wools produced naturalistic portraits and domestic scenes.

Embroidery was once again an important element of fashion in the early 18th century. Aprons, stomachers, hanging pockets, shoes, gowns, and men’s coats and waistcoats were all decorated with embroidery.

Later samplers

Cross-stitch alphabet sampler worked by Elizabeth Laidman, 1760.

By the 18th century, sampler making had become an important part of girls’ education in boarding and institutional schools. A commonplace component was now an alphabet with numerals, possibly accompanied by various crowns and coronets, all used in marking household linens. Traditional embroidered motifs were now rearranged into decorative borders framing lengthy inscriptions or verses of an “improving” nature and small pictorial scenes. These new samplers were more useful as a record of accomplishment to be hung on the wall than as a practical stitch guide.

Tambourwork

Tambourwork was a new chainstitch embroidery fad of the 1780s influenced by Indian embroidered muslins. Stitched originally with a needle and later with a small hook, tambour takes its name from the round embroidery frame in which it was worked. Tambour was suited to the light, flowing ornament appropriate to the new muslin dresses of this period, and patterns were readily available in periodicals like the Lady’s Magazine which debuted in 1770.

Tambourwork was copied by machine early in the Industrial Revolution. As early as 1810, a “worked muslin cap … done in tambour stitch by a steam-engine” was on the market, and machine-made netting was in general use as a background by the 1820s.

Smocking

Main articles: smocking and smock-frock

The linen smock-frocks worn by rural workers, especially shepherds and waggoners, in parts of England and Wales from the early eighteenth century featured fullness across the back, breast, and sleeves folded into “tubes” (narrow unpressed pleats) held in place and decorated by smocking, a type of surface embroidery in a honeycomb pattern across the pleats that controls the fullness while allowing a degree of stretch.

Embroidery styles for smock-frocks varied by region, and a number of motifs became traditional for various occupations: wheel-shapes for carters and wagoners, sheep and crooks for shepherds, and so on. Most of this embroidery was done in heavy linen thread, often in the same color as the smock.

By the mid-nineteenth century, wearing of traditional smock-frocks by country laborers was dying out, and a romantic nostalgia for England’s rural past led to a fashion for women’s and children’s clothing loosely styled after smock-frocks. These garments are generally of very fine linen or cotton and feature delicate smocking embroidery done in cotton floss in contrasting colors; smocked garments with pastel-colored embroidery remain popular for babies.

Berlin work

Berlin work pattern

Main article: Berlin wool work

In the early 19th century, canvaswork in tent or petit point stitch again became popular. The new fashion, using printed patterns and coloured tapestry wools imported from Berlin, was called Berlin wool work. Patterns and wool for Berlin work appeared in London in 1831. Berlin work was stitched to hand-coloured or charted patterns, leaving little room for individual expression, and was so popular that “Berlin work” became synonymous with “canvaswork”. Its chief characteristic was intricate three-dimensional looks created by careful shading. By mid-century, Berlin work was executed in bright colours made possible by the new synthetic dyes. Berlin work was very durable and was made into furniture covers, cushions, bags, and slippers as well as for embroidered “copies” of popular paintings. The craze for Berlin work peaked around 1850 and died out in the 1870s, under the influence of a competing aesthetic that would become known as art needlework.

Art needlework

Artichoke art needlework panel, wool on linen, Morris & Co..

Main article: Art needlework

In 1848, the influential Gothic Revival architect G. E. Street co-wrote a book called Ecclesiastical Embroidery. He was a staunch advocate of abandoning faddish Berlin work in favour of more expressive embroidery techniques based on Opus Anglicanum. Street’s one-time apprentice, the Pre-Raphaelite poet, artist, and textile designer William Morris, embraced this aesthetic, resurrecting the techniques of freehand surface embroidery which had been popular from the Middle Ages to the 18th century. The new style, called art needlework, emphasized flat patterns with delicate shading in satin stitch accompanied by a number of novelty stitches. It was worked in silk or wool thread dyed with natural dyes on wool, silk, or linen grounds.

By the 1870s, Morris’s decorative arts firm Morris & Co. was offering both designs for embroideries and finished works in the art needlwork style. Morris became active in the growing movement to return originality and mastery of technique to embroidery. Morris and his daughter May were early supporters of the Royal School of Art Needlework, founded in 1872, whose aim was to “restore Ornamental Needlework for secular purposes to the high place it once held among decorative arts.”

Textiles worked in art needlework styles were featured at the various Arts and Crafts exhibitions from the 1890s to the Great War.

Modern period

Organizations whose origins date back as far as the Middle Ages remain active in supporting embroidery in Britain today.

The Worshipful Company of Broderers is now a charitable organiztion supporting excellence in embroidery.

The Royal School of Needlework is based at Hampton Court Palace and is engaged in textile restoration and conservation, as well as training professional embroiderers through a new 2-year Foundation Degree programme (in conjunction with the University for the Creative Arts) with a top-up to full BA(Hons) being available for the first time in the 2011/12 academic year. Previously, apprentices were trained by an intensive 3-year in-house programme. It is a registered charity and receives commissions from public bodies and individuals, including the Hastings embroidery of 1965 commemorating the 900th anniversary of the Battle of Hastings the following year, and the Overlord embroidery of 1968 commemorating the D-Day invasion of France during World War II, now in the D-Day museum in Southsea, Portsmouth.

The Embroiderers’ Guild, also based at Hampton Court, was founded in 1906 by sixteen former students of the Royal School of Art Needlework to represent the interests of embroidery. It is active in education and exhibition.

Notes

^ Beck 1992, pp. 4444

^ a b c d e f Levey and King 1993, p. 12

^ a b c Embroiderers’ Guild 1984, p. 81

^ a b c d Fitwzwilliam and Hand 1912, “Introduction”

^ a b Embroiderers’ Guild 1984, p. 54

^ Coatsworth, Elizabeth: “Stitches in Time: Establishing a History of Anglo-Saxon Embroidery”, in Netherton and Owen-Crocker 2005, pp. 67

^ a b Levey and King 1993, p. 11

^ The Maaseik Embroideries, details and photos from Historical needlework resources.

^ Dodwell, p. 181

^ Dodwell, p. 182

^ Dodwell, pp. 129-145, 174-187, and Plate D.

^ Maniple and Stole of St Cuthbert details and photos from Historical needlework resources.

^ Coatsworth 2005, p. 16

^ Coatsworth 2005, pp. 2223

^ Wilson 1985, pp.201227

^ a b Jourdain 1912, pp. 68

^ Lemon, 2004

^ Jourdain 1912, pp. 1315

^ a b c Levey and King 1993, p. 17

^ Norris p. 225

^ Jourdain 1912, p. 56

^ Jourdain 1912, p. 15

^ a b Digby 1964, p. 21

^ Levey and King 1993, pp. 13 and 15

^ a b Hayward 2007, p. 360361

^ a b Arnold 2008, p. 9

^ a b c d Levey 1993, pp.1617

^ Arnold 1985, pp. PAGES

^ Arnold 2008, p. 6

^ a b c North, Susan. “‘An Instrument of profit, pleasure, and of ornament’: Embroidered Tudor and Jacobean Dress Accessories.” In Morrall and Watt 2008, p. 4347

^ Digby 1984, pp. 5152

^ Fawdry and Brown, p. 16

^ a b Gueter, Ruth. “Embroidered Biblical Narratives and Their Social Context.” In Morrall and Watt 2008, p. 4347

^ Hughes, p.22

^ Beck 1995, pp. 5458

^ Geuter, p. 73

^ a b Beck 1995, pp. 6383

^ Hughes, p. 37

^ Beck 1995, p. 70

^ Beck 1995, pp. 8687

^ Hughes, pp. 41, 80

^ Hughes, p.80

^ Marshall 1980, pp. 17-19

^ a b Berman 2000

^ Parry 1983, pp. 1011.

^ Quoted in Parry 1983, pp. 1819.

^ Parry, Linda. “Textiles”. In Lochnan, Schoenherr, and Silver 1996, p. 156

^ “Worshipful Company of Broderers official site”. http://www.broderers.co.uk/. Retrieved 2009-01-25.

^ “Royal School of Needlework official site”. http://www.royal-needlework.co.uk/. Retrieved 2009-01-25.

^ “Embroiderers’ Guild official site”. http://www.embroiderersguild.com/. Retrieved 2009-01-25.

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Arnold, Janet (November 2008). Patterns of Fashion 4: The Cut and Construction of Linen Shirts, Smocks, Neckwear, Headwear and Accessories for Men and Women C. 1540-1660. Macmillan. ISBN 978033357-821.

Beck, Thomasina (1992). The Embroiderer’s Flowers. David and Charles. ISBN 0715399012.

Beck, Thomasina (1995). The Embroiderer’s Story. David and Charles. ISBN 0715302388.

Berman, Pat (2000). “Berlin Work”. American Needlepoint Guild. http://www.needlepoint.org/Archives/01-01/berlinwork.php. Retrieved 2009-01-24.

Digby, George Wingfield (1964). Elizabethan Embroidery. Thomas Yoseloff.

Dodwell, C.R. (1982). Anglo-Saxon Art, A New Perspective. Manchester UP (US edn. Cornell, 1985). ISBN 071900926X.

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Fawdry, Marguerite, and Deborah Brown (1980). The Book of Samplers. St. Martin’s Press. ISBN 0312090064.

Fitzwilliam,Ada Wentworth, and A. F. Morris Hands (1912). Jacobean Embroidery. Kegan Paul. http://www.gutenberg.org/files/18971/18971-h/18971-h.htm.

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Hughes, Therle (No date). English Domestic Needlework 16601860. Abbey Fine Arts Press, London.

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Lemon, Jane (2004). Metal Thread Embroidery. Sterling. ISBN 071348926X.

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Lochnan, Katharine A., Douglas E. Schoenherr, and Carole Silver (eds.) (1996). The Earthly Paradise: Arts and Crafts by William Morris and His Circle from Canadian Collections. Key Porter Books. ISBN 1-55013-450-7.

Marshall, Beverly (1980). Smocks and Smocking. Van Nostrand Rheinhold. ISBN 0442282699.

Netherton, Robin, and Gale R. Owen-Crocker, editors, (2005). Medieval Clothing and Textiles, Volume 1. Boydell Press. ISBN 1843831236.

Netherton, Robin, and Gale R. Owen-Crocker, editors, (2006). Medieval Clothing and Textiles, Volume 2. Boydell Press. ISBN 1843832038.

Norris, Herbert (1938 (reprinted 1997)). Tudor Costume and Fashion. J. M. Dent; Dover Publications (reprint). ISBN 0486298450.

Parry, Linda (1983). William Morris Textiles. Viking Press. ISBN 0670770744.

Todd, Pamela (2001). Pre-Raphaelites at Home. Watson-Guptill Publications. ISBN 0-8230-4285-5.

Watt, Melinda and Andrew Morrall (2008). English Embroidery in the Metropolitan Museum 1575-1700: ‘Twixt Art and Nature. Metropolitan Museum of Art with the Bard Graduate Centre for Studies in the Decorative Arts, Design and Culture. ISBN 030012967X.

Wilson, David M. (1985). The Bayeux Tapestry. Thames and Hudson. ISBN 0500251223.

v d e

Embroidery

Styles

Assisi Bargello Berlin work Blackwork Broderie Anglaise Broderie perse Candlewicking Canvas work Counted-thread Crewel Cross-stitch Cutwork Darning Drawn thread work Free embroidery Goldwork Hardanger Machine Needlepoint Quillwork Smocking Sprang Stumpwork Surface Suzani Trianglepoint Whitework

Stitches

Backstitch Blanket Brick Buttonhole Chain stitch Couching and laid work Cross stitches Embroidery stitch Featherstitch Holbein Parisian Peyote Running Satin stitch Sashiko Shisha Straight stitch Tent stitch

Tools

and materials

Aida cloth Embroidery hoop Embroidery thread Evenweave Perforated paper Plainweave Plastic canvas Sampler Slip Yarn

Regional

and historical

Art needlework Bunka shishu Brazilian Chikan Chinese English Indian Jacobean Kaitag Kantha Kasuti Korean Mountmellick Persian Opus Anglicanum Suzhou Ukrainian Vietnamese Zardozi

Embroideries

Apocalypse Tapestry Bayeux Tapestry Bradford carpet Hastings Embroidery Hestia tapestry Margaret Laton’s jacket New World Tapestry Overlord embroidery Quaker Tapestry

Designers

and embroiderers

Leon Conrad Kaffe Fassett Juanita Growing Thunder Fogarty Marilyn Leavitt-Imblum Ann Macbeth May Morris Charles Germain de Saint Aubin Mary Elizabeth Turner Teresa Wentzler Erica Wilson Lily Yeats

Organizations

and museums

Embroiderers’ Guild (UK) Embroiderer’s Guild of America Embroidery Software Protection Coalition Royal School of Needlework Chung Young Yang Embroidery Museum Han Sang Soo Embroidery Museum

Related

Applique Crochet Knitting Lace Needlework Quilting

Categories: English embroidery

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Posted in Cast Iron Dutch Ovens1 Comment

Black Bean Chili Recipes: 3 Fabulous Chili Meals Featuring Black Beans

Posted on 17 January 2011. Tags: Bean, Beans, Black, Chili, Fabulous, Featuring, Meals, Recipes

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Home Page > Food and Beverage > Recipes > Black Bean Chili Recipes: 3 Fabulous Chili Meals Featuring Black Beans

Black Bean Chili Recipes: 3 Fabulous Chili Meals Featuring Black Beans

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Posted: Mar 04, 2010 | Views: 338 |

The fiber rich black bean is a great alternative to the red kidney bean when it comes to making chili. The black bean is packed with several vitamins that benefit the body, plus, it has a mild flavor that doesn’t overwhelm other ingredients in the dish.

Black beans are a staple of Mexican and Southwestern style cooking. The following recipes all feature this bean in a savory mixture of spices, vegetables and meat.

=> Traditional Black Bean Chili

This is a meatless chili, but it does contain chicken broth.

In a food processor, add 3 cups of beans and the chicken broth and blend until smooth. Set aside.

4 (15 oz.) cans of black beans, rinsed and drained, 1 (14-1/2 oz.) can of chicken broth, 1/2 cup onion, chopped, 1/2 cup of celery, thinly sliced, 1/3 cup of green pepper, chopped, 2 cloves of garlic, minced, 2 teaspoons of olive oil, 1 (14-1/2oz.) can of whole tomatoes, undrained, chopped, 2 teaspoons chili powder, 1/2 teaspoon ground cumin, 1/2 teaspoon dried oregano leaves, 1/4 teaspoon salt.

In a 3-quart saucepan, combine the onion, celery, pepper, garlic and oil. Cook all over medium heat for 8 to 10 minutes, or until the vegetables are nice and tender. Stir often.

Add in the processed beans, the remaining beans, the tomatoes, chili powder, cumin, oregano and the salt. Mix together well. Bring to a boil over high heat and stir occasionally.

Reduce heat to low and cook for 10 to 15 minutes or until the flavors are blended well. Stir occasionally.

=> Beef and Black Bean Chili

This recipe features boneless chuck roast and black beans in a spicy chili sauce.

3/4 cup of dried black beans or 1 (15 oz.) can of black beans, rinsed and drained, 3 tablespoons of olive oil, 2 large green bell peppers, chopped, 1 large onion, chopped, 2 to 4 jalapeno peppers, seeded and finely chopped, 3 cloves of garlic, minced, 2 pounds of boneless beef chuck roast, trimmed of fat, cut into 1/2-inch cubes, 1/4 cup of chili powder, 1 tablespoon cumin, 1 teaspoon salt, 1/2 teaspoon black pepper, 1 (28 oz.) can of crushed tomatoes in puree.

Optional: 1 (4 oz.) can of sharp cheddar cheese, shredded, 3/4 cup of sour cream, sourdough bread.

Place the dried beans in a large pot or bowl and cover completely with cold water. Soak for 12 hours or overnight. Drain and rinse the beans. In a large saucepan, combine the beans and 1-quart of water. Heat until boiling. Reduce the heat to simmer. Cover and cook for 1 to 1-1/4 hours or until the beans are tender.

In a Dutch oven, heat the oil over medium heat until hot. Add in the bell pepper, onion, jalapeno peppers and the garlic. Cook for 10 minutes or until tender; stirring frequently.

Increase the heat to high. Add in the beef and cook, stirring often, for 6 minutes or until meat is no longer pink. Reduce the heat to low. Stir in the chili powder, cumin, salt and pepper.

Cook and stir for 1 minute. Stir in the tomatoes. Cover and simmer for 1 hour and 20 minutes. Drain the beans. Add beans to the chili mixture and simmer for 10 minutes.

Serve chili with cheese, sour cream and sourdough bread.

=> Black Bean Chili Salad

This makes a delicious chili served with lettuce and tortilla chips.

1 (12 oz.) package of black beans, 2 cups of chopped onion, divided, 12 cloves of chopped garlic, divided, 2 (20 oz.) cans of whole tomatoes, undrained and chopped, 1 pound of ground beef, 1 green pepper, chopped, 1 teaspoon salt, 1 teaspoon pepper, 2 tablespoons chili powder, 1-1/2 tablespoon ground cumin, 1/8 teaspoon crushed red pepper, Tortilla chips, 1 cup of grated cheddar cheese, 1 cup of thinly sliced lettuce, 1 mashed avocado, 1/2 cup sour cream.

In a large cast iron pot, add in the package of beans and cover completely with water. Bring to a boil. Turn off the heat and let the beans soak for 4 hours.

Turn the heat back on and add in 1-1/2 cups of onion, 8 cloves of garlic; simmer until the beans are nice and tender. Drain the liquid from the beans.

Add the tomatoes to the beans and cook over low heat.

Meanwhile, cook the ground beef in a skillet with onion, green pepper, 4 cloves of garlic, salt, pepper, chili powder, cumin and red pepper, until beef is browned.

Drain off the fat and add the meat mixture to the beans and tomatoes. Heat thoroughly. Serve with lettuce, tortilla chips, avocado and sour cream.

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Home Page > Education > The Best Jambalaya Recipe – Creole

The Best Jambalaya Recipe – Creole

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Posted: May 15, 2010 |Comments: 0
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To the many people have never heard of, or tasted the jambalaya before, this is a very savory local cuisine that is known to have originated from Louisiana in the United States. It is a simple and very delicious rice dish that has three popular variations:

The Cajun Jambalaya,
The Creole Jambalaya, and
The white Jambalaya

To prepare of the best jambalaya recipe, here is a traditional Creole Jambalaya recipe that is bound to tickle the taste buds.

Ingredients:

2 and ½ cups of rice, long grain ones will do
About 142grams of chicken, cut them into about 2.5cmsq. cubes
About 85grams of pork ribs, cut them same size as chicken. Smoked pork doesn’t work!
About 142grams of ham cubes
About 170grams of Andouille sausage, recommended but substitutions will do if unavailable in local market
About 343grams of raw-shelled shrimps
A 0.35l of hand crushed tomatoes, a must!
1 and ½ cups of finely chopped onions
1 cup of finely chopped celery
1/2 cup of finely chopped red bell pepper
1 cup of finely chopped green bell pepper
2 cups of chicken stock
6 cloves of crushed or pressed garlic
Clam or vegetable juice, as needed – No water!
½ tablespoon each of white, red and black peppers
1 tablespoon of pale dry sherry, if desired
¼ teaspoon of finger-crushed saffron
¼ teaspoon of monosodium glutamate
1 and ½ teaspoons of Hungarian HOT paprika
¼ teaspoon of thyme
1 small bay leave
3 tablespoon of Spanish olive oil, a must!

Cooking Instructions

Heat the olive oil in the Cast Iron Pot or a Dutch oven
Add the peppers, onion, garlic and celery and stir, cook on high flames until ingredients are translucent
Add the chicken and pork and keep stirring until the turn white
Add the Ham and sausage and stir for about 3minutes
Add the tomatoes and stir for 5minutes
Lower the heat to medium and add the chicken stock and stir
With same heat, add all the other seasonings except the sherry in any order and stir. Allow to cook to about 20minutes.
Add the rice, cover the pot and cook for about 30minutes
Add the shrimp and the sherry
If needed or if the rice is not well cooked, add the Vegetable or Clam juice and stir it thoroughly. Allow to cook for another 5 to 10minutes
Turn off the heat and let it simmer and serve

This can serve about 8 people so, invite your friends and show off one of the best jambalaya recipe.

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Stuart Michael M -
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Posted in Cast Iron Dutch Ovens72 Comments

How to Cook Italian Sausage

Posted on 14 January 2011. Tags: Cook, Italian, Sausage

How to Cook Italian Sausage

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Home Page > Food and Beverage > How to Cook Italian Sausage

How to Cook Italian Sausage

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Posted: Oct 21, 2010 |Comments: 0
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]]>

Considered by many to be the king of sausages Italian sausage, is popular, delicious and versatile. Learn to cook Italian sausage any way under the sun!

REMEMBER

No matter how you choose to cook your Italian sausage ALWAYS make sure that:

1. It is fresh. Fleshy, pink color. No trace of odor or sliminess.

2. It’s kept refrigerated (or in a cooler) up until the moment it is ready for use.

3. It’s cooked to an internal temperature of 160 degrees. THIS IS EXTREMELY IMPORTANT.

Fry ‘em!

Prick sausages all over. Cut into 4 inch pieces. Deep fry in oil between 340 and 360 for 4-5 minutes each or until golden brown. Be sure to use a deep pot to avoid boil over and keep oil from getting too hot or the casing will overcook and leave the inside raw. Cook Drain on paper towels or paper bags. Serve on hoagie rolls with onions, peppers, cheese and marinara, or serve as appetizers by mixing with sautéed red onion quarters and glazing with peach or apple jelly.

Grill ‘em!

This has to be my favorite application for Italian sausage. Throw one pound (4-5) Italian sausage links into a pot and add 1 bay leaf, 1 tsp chicken bouillon granules (or 1 cube), one can of your favorite beer and enough water to cover. Turn the heat to medium high, then cut it off as soon as the water starts to simmer. This process renders off some of the fat to avoid splatters during grilling, and cuts down on cooking time. However, be sure not to let it simmer more than a few seconds, otherwise all that great sausage flavor end up in the water and you’ll be left with something very bland excuse for a sausage.

Grill the parboiled sausages first over high heat for 1-2 minutes on each side, then over medium to medium high heat until cooked through. Place in steamed or grilled buns and top with your favorite hot dog fixins’!

Steam ‘em!

Place one pound (4-5) sausage links (halved) into a crock pot. Add 1 tbs. soy sauce, ¼ cup sherry, 2 cloves of garlic, 1 bay leaf, and 2 cups of water or beer. Cook on HIGH 2 hrs. then reduce to low until ready to serve.

Bake ‘em!

Split sausages in half lengthwise (this is easier if sausages are partially frozen), pierce each half twice. and cook on each side until browned. Place sausages cut side up in a ceramic dish and cover with your favorite marinara sauce. Top with mozzarella cheese and bake at 375 degrees for 20 min or until cheese is golden brown and sausage is cooked. Sprinkle with fresh chopped parsley and with salad and breadsticks.

Braise em!

Coat the bottom of a cast iron skillet to Dutch oven with olive oil and sear sausages for 2 minutes on each side. Add 1 sliced onion and one bulb of fennel sliced 1 bay leave. Deglaze pan with ½ cup red wine and ½ cup chicken broth. Cover and bake at 375 degrees for 25-30 minutes or until sausages are cooked through.

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Rene Ross -
About the Author:

The possibilities are limited only by your imagination! Flex your creative muscles even more by making your own Italian sausage. Simple, gourmet sausage recipes, tutorials, and more are at homesausagemaking.com.

]]>

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