Très Riches Heures Musee Cluny MS. 65 f. 11v Calendar page for November Credit: Wikimedia Commons
The November calendar page for the Trés Riches Heures du Duc de Berry (Cluny Musee MS 65 F11v) is one of the pages in the book of hours that the Limbourgs did not complete before they, and their patron Jean Duc de Berry, died June 15 1416 in Paris. Charles I, the Duc de Savoie, commissioned Jean Colombe to finish the central image of the November calendar page sometime between 1485-1489.
Detail for the month of November showing peasants harvesting acorns for pigs
The central panel features a pastoral scene of peasants harvesting acorns from oak trees, for the benefit of swine grazing beneath the trees. In the background on the left a château is partially visible on the bank of a river. The château has not been identified; it’s possible that Colombe relied on his imagination in depicting the château; it’s also possible that it’s not extant and therefor unrecognized.
The peasant on the left looks poised to hurl his stick into the trees, striking the ripe acorns so that they would fall on the ground to be consumed by the waiting pigs. Farther back, in the middle distance, two other peasants accompanied by sticks and pigs are engaged in watching the pigs, and in assisting the acorns to fall.
You’ll notice that the oak trees are very straight, and have had their lower branches lopped off in a practice known as pollarding. It was common in the middle ages in Europe to pollard oak and hazel nut trees by lopping off the lower branches every year or so; these could be used for firewood, and the tree would still grow and bear nuts. It also allowed more trees to be planted, because they could be planted closer together without lower branches inhibiting the growth of nearby trees.
November in Europe has a rich tradition of feeding acorns to pigs, and not just in the Mediterranean countries; Ireland and Britain both relied on acorns (and hazelnuts and hawthorn haws) as important fodder crops. The medieval Brehon laws of Ireland have specific restrictions and protections for the use of mast, particularly acorns. They were crucial in particular in terms of fattening pigs or “finishing” pigs before butchering. Green acorns were hazardous to horses and cows, and not really helpful to swine, hence the practice of harvesting ripe acorns, with the aid of stick or flail.
Acorns are still used to “finish” pigs destined for a later appearance as ham, even now.
I can’t really think about Halloween, or Samain, if you prefer, without thinking of the ballad of “Tam Lin,” especially this part:
And ance it fell upon a day
A cauld day and a snell,
When we were frae the hunting come,
That frae my horse I fell,
The Queen o’ Fairies she caught me,
In yon green hill to dwell.
And pleasant is the fairy land,
But, an eerie tale to tell,
Ay at the end of seven years
We pay a teind to hell;
I am sae fair and fu o flesh,
I’m feard it be mysel.
But the night is Halloween, lady,
The morn is Hallowday;
Then win me, win me, an ye will,
For weel I wat ye may.
Just at the mirk and midnight hour
The fairy folk will ride,
And they that wad their true-love win,
At Miles Cross they maun bide.
— “Tam Lin” Child Ballad 39A.24
“Tam Lin” is one of the Child Ballads, a collection of several hundred early English and Scottish popular ballads collected by Francis James Child. Most of the Child ballads are from the sixteenth century. Some few are older. You can find a list of the Child ballads by number here. A few of the ballads are older than the earliest printed sources; “Tam Lin” is one of those. It’s also one of the best known of the Child Ballads; there are lots of covers by folk rock bands, as well as more traditional singers.1)Probably the best known cover of Tam Lin is this 1969 performance by British folk rock band Fairport Convention, from their lovely Liege and Leaf album. You can find the entire text of the ballad in multiple versions at Abigail Akland’s site TamLin.org. You may be familiar with the story of Tam Lin from one of the novels inspired by the ballad2)A fair number of writers have used all or parts of the ballad of Tam Lin in their books. Pamela Dean’s Tam Lin and Elizabeth Marie Pope’s YA The Perilous Gard are two of my favorites. Other writers, principally Patricia McKillip in Winter Rose and Elizabeth Bear in Blood and Iron and Whiskey and Water use the ballad in interesting and compelling ways..
The basic story line of “Tam Lin” tells how Tam Lin was kidnapped or “taken” by the queen of the fairies when he falls off a horse while hunting. He is destined to be sacrificed by the fairies on Halloween, as a teind or tithe to Hell, unless his mortal (and pregnant) lover Janet rescues him.
One of the reasons I find Tam Lin’s tale compelling is that it’s very much tied to the idea of seasons, and to the medieval Celtic idea that at Samain (or the modern related holiday Halloween) the Otherworld is closer to this world, and thus allows more ready passage between the two. Halloween is a liminal time. Samain was at its heart a harvest festival, a time when animals and crops were taken and consumed.
When Janet rescues her lover, it is at midnight, a time between day and night, a time that is thus, because of its liminal nature, outside of time, much the way Samain lies outside of time, between seasons.
The rescue takes place at Miles cross, that is, at a crossroads, a place between places, a place that is liminal in that it partakes of two or more places at once. Crossroads, places where two roads, or two tracks meet, represent decision points; you must choose which road to follow. Crossroads are liminal in that if you stand in the center, you are not really “at” any of the four roads; you are in a special place that is “between”; between roads, between choices. It is at once “some place,” and “no place.” Consequently, crossroads are rich with potential in folklore. They are, for instance, a logical place for a deal with the devil.
In the ballad of Tam Lin, Tam Lin, about to be offered as a tithe to Hell by the fairies, tells his mortal lover Janet that she must meet him and pull him from his horse when he rides with the fairies:
Just at the mirk and midnight hour
The fairy folk will ride,
And they that wad their true-love win,
At Miles Cross they maun bide.
Janet can rescue Tam Lin from the fairies at at midnight because it is between night and day, and at Miles Cross because it’s a crossroad, a place that is neither fairy nor mortal turf but that is “between” territories, and hence, neutral territory. Crossroads are places where journeys are shaped, because the traveler must make a choice about which path to take.
Although Samain was principally a harvest festival, a time for feasting and giving thanks for the harvest as you consume what won’t keep, there are several references to a tax due at Samain; for instance, in the Lebor Gabala Eirenn, during the reign of Nemed, we are told that the descendants of Nemed were taxed by the Fomoire:
§44. Two thirds of the progeny, the wheat, and the milk of the people of Ireland (had to be brought) every Samain to Mag Cetne. Wrath and sadness seized on the men of Ireland for the burden of the tax. They all went to fight against the Fomoraig.3)(Lebor Gabala Eirinn. Ed. Trans. R. A. S. MacAlister. Irish Text Society 1832.
Here Samain is associated with tax-gathering, paying a tithe, an appropriate thing to do at the end of the harvest. It might in fact be considered a kind of sacrifice, since the Formoire were certainly supernatural.
In the ballad, Tam Lin says that
Ay at the end of seven years
We pay a teind to hell;
I am sae fair and fu o flesh,
I’m feard it be mysel.
The idea of the teind, an old Northern word for a tithe, is particularly intriguing in light of the timing of Samain in the late autumn. The Medieval English Thomas Of Erceldoune (closely related to Child Ballad #37 “Thomas the Rhymer”) makes a similar reference to “þe foulle fende” fetching his fee in the form of a human sacrifice. The fairy queen who absconded with Thomas when she found him sleeping under the Eldone Tree, tells him she must return him to the mortal world lest he be sacrificed:
“To Morne of helle þe foulle fende
Amange this folke will feche his fee;
And þou arts mekill mane and hende,—
I trowe full wele he wolde chose the.
ffor alle þe gold þat euer may bee,
þou bese neuer be trayede for mee;
þere fore with me I rede thou wende” (ll. 289–94).4)Thomas of Erceldoune is a 15h century medieval romance. The best text is that of the 15th century Lincoln Cathedral MS. 91. The Thornton Ms. Nixon, Ingeborg. Ed. Thomas of Erceldoune. Publications of the Department of English University of Copenhagen. Volume 9 Part 1 Thomas of Erceldoune. Volume 9 Part 2 Introductions, Commentary and Glossary. Copenhagen: University of Copenhagen, 1980.
One of the more interesting aspects of the liminality of Halloween (and the earlier Samain) is that the ease of passage between the mortal world (or Middle Earth as Thomas of Erceldoune has it) and the fairy otherworld on Halloween, as on May Day (or Beltaine) marks the way the otherworld is dependent on this world, even if it’s only for occasional sacrificial victims. Another interesting facet is that in both the story of Tam Lin, saved by the love of his mortal sweetheart Janet, and in the case of Thomas the Rhymer, saved by the love of his immortal sweetheart the fairy Queen, love wins the day.
Probably the best known cover of Tam Lin is this 1969 performance by British folk rock band Fairport Convention, from their lovely Liege and Leaf album.
A fair number of writers have used all or parts of the ballad of Tam Lin in their books. Pamela Dean’s Tam Lin and Elizabeth Marie Pope’s YA The Perilous Gard are two of my favorites. Other writers, principally Patricia McKillip in Winter Rose and Elizabeth Bear in Blood and Iron and Whiskey and Water use the ballad in interesting and compelling ways.
(Lebor Gabala Eirinn. Ed. Trans. R. A. S. MacAlister. Irish Text Society 1832.
Thomas of Erceldoune is a 15h century medieval romance. The best text is that of the 15th century Lincoln Cathedral MS. 91. The Thornton Ms. Nixon, Ingeborg. Ed. Thomas of Erceldoune. Publications of the Department of English University of Copenhagen. Volume 9 Part 1 Thomas of Erceldoune. Volume 9 Part 2 Introductions, Commentary and Glossary. Copenhagen: University of Copenhagen, 1980.
Très Riches Heures du duc de Berry; Musée Condé, MS. 65 f. 10v
In this calendar image for the month of October from the Très Riches Heures du duc de Berry (f. 10v) the labor of the month is sowing the winter grain. This is one of the images that was left uncompleted when Jean Duc de Berry died in 1416. The original artists responsible for most of the image in this book of hours, the Limbourg brothers, also died.
The manuscript passed to King Charles VII, the Duke’s brother, and the image for the October calendar was finished by another artist.
In the warmer parts of Europe, the wine regions, October marked the month when the grapes harvested in September were put into barrels for aging. In the regions less friendly to grapes, October’s labor is sowing the winter grain, or sometimes, plowing.
As it says in the medieval lyric listing the labors of the month “And here I sawe my whete so rede” (Bodleian MS. Digby 88).
In the background, you can see the Louvre; this Parisian palace was built by the Duke’s older brother, King Charles V. The medieval Louvre was substantially changed by successive royal owners; here’s a reconstruction showing what we think it looked like in the 15th century. The Très Riches Hours calendar image shows three central towers. Between the three central towers are two balconies, or brattices, each pierced by three windows from which, during a siege, defenders could hurl boing water or hot oil on to the attackers below.
Detail showing from the calendar page for October from the Très Riches Heures du duc de Berry (Musée Condé, Chantilly, France; MS, 65 f. 10v). C. 1416.
Beneath the towers and the central donjon of the the Louvre, you can see a small door that opens in the thick wall, exiting on to the banks of the Seine. People chat in a small group right at the door. A set of steps leads down to the Seine, where women do their laundry by beating it with a stick, near a small boat that’s moored. To the right, in front of one of the central towers, two dogs play. There’s a second set of stairs down to the Seine, and three more boats are tied up.
In the central scene below the Louvre and the river, a man in red mounted on a horse drags a harrow across the field. The wooden harrow is weighted with a rock. The weight of the rock forces the tines of harrow into the earth. As the horse drags the harrow along, the tines break up the dirt clods. This is particularly useful after plowing since the harrow helps cover the previously sown seeds as it smooths the soil. Beyond the mounted rider, in the central part of the image, there’s a field that’s already been sown with seeds and a scarecrow dressed as an archer. The strings tied with rags that criss-cross the field around the scarecrow are meant, like the archer scarecrow, to ward off marauding birds.
To the right in the front of the image, a peasant dressed in blue scatters seeds, hand-sowing, while magpies (the black-and-white birds) and crows devour the freshly sown (but not yet covered by the harrow) seeds. Notice the naturalistic detail of the footprints left in the soft earth as the seed-sower progresses along the row. Those footprints, like the shadow cast by the scarecrow, the reflections cast by the boats, or the vaporized breath and the smoke from the chimney in the image for February are other early examples from the Très Riches Heurs of the artists using realistic, technical, details in European art of the Middle ages.
Both The Getty and The Metropolitan Museum of Art are releasing digital books (.pdfs) of their own publications about their collections as a “virtual library.” These books are complete .pdf versions of the print bersions, and are free to download.
A few years ago, an acquaintance emailed me in extreme frustration because he’d looked up furze, a word he encountered while reading a mystery set in Scotland, in a dictionary. The definition for furze was “whin; gorse.” When he looked up whin and gorse their entries referred him to furze. I’ve had similar and equally annoying experiences with dictionaries, and immediately understood his frustration. I promised him I’d post about all three words.
Gorse, as the AHD notes, is
Any of several spiny shrubs of the genus Ulex, especially U. europaeus, native to Europe and having fragrant yellow flowers and black pods. Also called furze, whin.
Ulex europaeus from Ayrshire, Scotland Credit: Roger Griffith
That’s a picture of the most common species of gorse in Scotland and the UK, Ulex europaeus “Common gorse.” It grows on otherwise barren land, in sandy soil with good sun exposure; it has glossy green leaves, spines, and grows as a low shrub where not much else grows. In the spring it has bright yellow flowers. When sheep or goats eat the surface vegetation, the plant survives and puts out new shoots. The seeds are contained in hard black seed-pods, and will often survive and sprout even better after a fire. It is in fact exceedingly flammable, and may well have adapted specifically to survive sporadic fires, particularly those from lightening strikes. While Gorse is not native to North America, European Common Gorse has made its way here, probably both accidentally in seed form, and with intent, because Scots settlers from Scotland and by way of Canada brought it with them as a crop for cattle and sheep, a plant to use in dyeing fabric, and as an ornamental reminder of home.
Unfortunately, the Gorse thrived since the birds and other natural predators adapted to consume the gorse in Scotland and the U.K. didn’t come to North America with the Gorse. Consequently, Gorse is officially listed as an invasive and nuisance plant, a noxious weed in western Washington state. In New Zealand, where Gorse has also triumphed over the native plant life, Gorse often serves to spread fires by providing fodder for the flames. Gorse is generally perceived as the most noxious invasive week in New Zealand.
Gorse and furze and whin all refer to exactly the same plant. But each synonym was probably from a different Germanic dialect; gorse and furze are gorst and fyrs in Old English, and were likely words for the same plant from different dialect of Old English. Whin, or whinne in Middle English appears to be borrowed from a Scandinavian language, probably Old Norse, but possibly Danish. Saxon, Norse, and Danish were all spoken by Germanic invaders who settled in various parts of England; all have left their mark on English, just as much as the plant has marked the landscape.
This grape-picking scene from the Très Riches Heures is one that was completed after the death of the book of hours’ original owner, Jean Duc de Berry. The Duke died in 1416, as did the three Limbourg brothers. In 1485, the Duc de Savoie, who acquired the unfinished manuscript, had the artist Jean Colombe finish half of September. Jean Colombe relied on a placeholder sketch previously made by the original artist. The top portion of the scene, featuring the Château de Saumur, was completed earlier.
In the warmer wine-producing parts of Europe, September, even now, brings the grape harvest. Peasants took to the fields in September to pick the grapes, engaging in the standard labor of the month depicted in the the calendar pages of books of hours for the month of September (at least in warmer climates).
If you look at the detail from the central portion of this calender page for Sepetember, you can see that the Château has a mote, with what appears to be a small draw bridge before the entry. A woman with a basket on her head is entering, and a horse (surprisingly it does not appear to be a donkey) with panniers is leaving. Between the Château and the grape vines is an enclosure that served as a tilting ground for tournaments. Just to the right of the tilting ground stands an ox.
In the lower portion of the scene, the grape pickers cut bunches of grapes from the vines and place them in baskets. If you look closely, the two pickers on the bottom left, both in grey, a woman wearing a white apron and a dark head-cloth and a man in grey, appear to be holding grape knives; these knives would also have been used earlier in the year to trim the vines.1)Called a billhook, this frequently used gardening tool had a double-edged curved blade and sometimes, an additional spike or point. It’s not that different from a modern grape harvesting knife. In Latin, the vineyard variety of a billhook was a falx vinatoria. Baskets of grapes are filled and placed in the panniers on the donkeys, or in the large barrels in the ox cart to the right. On the bottom left, a woman in blue and red with a adjusting her maroon head scarf and a white apron appears to be very pregnant. Just behind her, to the right, a young man in brown is sampling the grapes. In the middle right, a peasant is mooning the viewer.
Detail of the calendar page for September showing the Château de Saumur in the background, and peasants harvesting grapes in the foreground, the typical labor of the month in France.
Called a billhook, this frequently used gardening tool had a double-edged curved blade and sometimes, an additional spike or point. It’s not that different from a modern grape harvesting knife. In Latin, the vineyard variety of a billhook was a falx vinatoria.
The Greeks called him “a poet,” which name has, as the most excellent, gone through other languages. It comes of this word poiein, which is “to make”; wherein I know not whether by luck or wisdom we Englishmen have met with the Greeks in calling him “a maker.” Which name how high and incomparable a title it is, I had rather were known by marking the scope of other sciences than by any partial allegation (Sidney Defence of Poesie).
Sidney is absolutely correct when he notes that the English word poet derives from the Greek poiein, to create. Our modern English poet comes to us via Middle English, from Old French poete, from Latin poēta, from Greek poiētēs, “maker, composer,” which derives from Greek poiein, “to create.”
Sidney is also correct about English poets in earlier eras being called “makers.” It’s a particularly common way to refer to poets in Middle Scots, as you’ll see in William Dunbar’s (1465–1520?) “Lament for the Makers.”
Dubar’s poem is a litany of dead poets, “makers,” or as Dunbar’s Middle Scots would have it, makaris, all taken by Death:
He has done petuously devour The noble Chaucer, of makaris flour, The Monk of Bury, and Gower, all three:— Timor Mortis conturbat me (Dunbar “Lament for the Makers,” ll. 49–52).
Englished that would be:
He has piteously devoured The noble Chaucer, the flower of makers, The monk of Bury, and Gower, all three:— Fear of death torments me.
“Timor Mortis conturbat me” is Latin for “the fear of death torments me”; Dunbar’s poem lamenting the dead makers is an example of the poetic genre known as memento mori; Dubar fears that his own death is approaching, that he will be “devoured” much as Chaucer, Lydgate (the monk of Bury) and Gower were.
The phrase memento mori is usually used in the context of a literary topos, that is a commonplace, or a motif in art. The New Latin (i.e. not Classical, but late Medieval or Early Modern Latin) is derived from Latin mementō, singular imperative of meminisse, “to remember’ + Latin morī, “to die.” Memento mori is conventionally translated as “remember that you have to die,” or the even less literal “remember your death” (AHD).”
Remember here has a cautionary connotation of “don’t forget.” The driving idea behind the tag (and the topos) is that all creatures die; we should thus go through life remembering that our death is inevitable. In a Christian context, the emphasis is less on fate and fatality, and more on the Christian concept of a heavenly life to come; we should thus remember our mortality, and use this life to prepare for the life to come.
n. pl. memento mori
1. A reminder of death or mortality, especially a death’s-head.
2. A reminder of human failures or errors.
there is a strong tie between the phrase memento mori, and visual representations of mortality. A death’s-head is “The human skull as a symbol of mortality or death” (AHD s. v.death’s-head).
Medieval books of hours include the Office of The Dead, a set of prayers and readings meant both to remind the living of the inevitability of death (and the necessity of a virtuous life) and prayers for the soul of the departed to shorten their stay in purgatory. The memento mori has a vast iconographic catalog of visual images associated with the motif, ranging from skeletons and skulls, to personifications of death as the Grim Reaper, to mirrors held by skeletons (sometimes reflecting the owner of the book or painting) and reminding the viewer that “you too shall die.” Tombs and gravestones feature reminders of the inevitability of death in the form of skulls and skeletons. Jewelry featuring these motifs was popular throughout the Middle ages and Renaissance. These objects are often specifically identified as a memento mori, a “reminder of death.”
Painters in the seventeenth century portrayed elaborate banquets, with the shadow of a skeleton looking over the feast, or tables with food and drink, candles, plants or flowers, hourglasses or early timepieces (and often, books!) with a skull prominently displayed as reminder that these things are transitory; life and time are moving towards death. Eighteenth century engravers favored bipartite men and women, with one half depicted as a skeleton, as a reminder of the inevitability of death and the necessity to prepare.
Literature too is full of instances of the memento mori motif. So much so that the OED credits Shakespeare with the first use of the phrase memento mori in Henry IV (1598):
I make as good use of it as many a man doth of a death’s head, or a memento mori
Again, we see the death’s head as an example of a memento mori.
In Shakespeare’s Hamlet, Act 5 scene i, the scene with Hamlet, Horatio, and the grave digger wherein Hamlet asks to whom a particular skull once belonged, is a memento mori passage of some note, and is told that it once belonged to Yorick, a jester of some note:
HAMLET Takes the skull
Alas, poor Yorick! I knew him, Horatio: a fellow
of infinite jest, of most excellent fancy: he hath
borne me on his back a thousand times; and now, how
abhorred in my imagination it is! my gorge rims at
it. Here hung those lips that I have kissed I know
not how oft. Where be your gibes now? your
gambols? your songs? your flashes of merriment,
that were wont to set the table on a roar? Not one
now, to mock your own grinning? quite chap-fallen?
Now get you to my lady’s chamber, and tell her, let
her paint an inch thick, to this favour she must
come; make her laugh at that. Prithee, Horatio, tell
me one thing. Horatio What’s that, my lord? HAMLET Dost thou think Alexander looked o’ this fashion i’
the earth? HORATIO E’en so. HAMLET And smelt so? pah! Puts down the skull HORATIO E’en so, my lord.
To what base uses we may return, Horatio! Why may
not imagination trace the noble dust of Alexander,
till he find it stopping a bung-hole? HORATIO
’Twere to consider too curiously, to consider so. HAMLET No, faith, not a jot; but to follow him thither with
modesty enough, and likelihood to lead it: as
thus: Alexander died, Alexander was buried,
Alexander returneth into dust; the dust is earth; of
earth we make loam; and why of that loam, whereto he
was converted, might they not stop a beer-barrel?
Imperious Caesar, dead and turn’d to clay,
Might stop a hole to keep the wind away:
O, that that earth, which kept the world in awe,
Should patch a wall to expel the winter flaw!
All men die. Yorick the jester, Caesar, and Hamlet’s father the king, all have died. The way Hamlet’s rumenations about the inevitability of death are triggered by the sight of Yorick’s skull renders the skull a memento mori, though as a skull at grave-digging, it’s an obvious death’s head.
Or if too hard and deep
This learning be, for a scratch’d name to teach,
It as a given death’s head keep,
Lovers’ mortality to preach ;
Or think this ragged bony name to be
My ruinous anatomy (ll. 19–24).
Here Donne transforms his engraved signature to a death’s-head, an “anatomy,” in another skeletal reference, and, in later verses, as a talisman to ward off other would-be-lovers pursuing Donne’s beloved after his death. Even more contemporary poets use the memento mori topos; see Billy Collins’ “Memento Mori”:
There is no need for me to keep a skull on my desk,
to stand with one foot up on the ruins of Rome,
or wear a locket with the sliver of a saint’s bone.
The conventional seasonal labor for August is wheat threshing; that’s when the wheat reaped in July, briefly dried in the field then stacked in small bundles or sheaves, before being gathered into larger shocks, tied, and brought to a barn (sometimes a dedicated three-walls-and-a-roof threshing barn) where it was beaten with a flail to force the dried wheat grains off the stems. Grain had to be dry before being stored or milled; damp wheat often resulted in fungus, even the dreaded ergot. Threshing was sometimes continued into the autumn and even winter, when working inside was a convenient escape, and thereby allowed summer’s harvest to continue without interruption.
In this detail from the Trés Riches Heures of Jean Duc de Berry calendar page for August (Musée Conde MS 65 F. 8v) you can see the Duke’s Château d’Étampes in the background; the tall tower in the center is still extant. Below the château you can see a wagon being loaded with shocks as one peasant bundles sheaves to form the upright-shocks. On the right, another peasant bundles sheaves into shocks while a third swings his short-handled sickle to cut down the last of the wheat.
In the lower half of the detail an aristocratic hawking party is in progress. In the front the falconer, on foot, with two birds on his wrist, and a lure tied to his belt. The lure, made of a pair of birds’ wings that a choice tidbit could be tied to, was used to train birds to return to the hand. Once the bird brings down live prey, the lure is used to “lure” her back to the end, and dogs (see the two in the image above) retrieve and bring the prey back to the hawking party.
Falconry, or hawking, originally was a way to procure meat for the table; over time, it became an aristocratic sport. Dame Juliana Berners (c.1388–) wrote a treatise covering the various kinds of hawks and falcons, who could own them (aristocracy had dibs on the larger birds of prey; commoners were restricted to kestrels and the like), how they should be kept, trained, and fed. The Boke of St. Albans1)More fully identified as Book of hawking, hunting and blasing of arms., produced some time in 1486 or thereafter was the first book printed in England to feature colored images.
It’s blueberry season in Maine. The abundance of blueberries got me thinking about my mom’s blueberry buckle recipe. What, pray tell, is a buckle?
Fruit buckles are very much associated in my mind with New England, but my quick check of southern recipe collections suggest that that’s not the case historically. Southern recipes for buckles feature apples and plums Almond-Plum Buckle recipe rather than blueberries Blueberry Buckle Recipe. A buckle, for the curious, is an old-fashioned style of single layer cake, typically cooked in a flat pan, round or square (rather than , and includes fruit and streusel-style crumb topping. Some recipes call for mixing the fruit into the cake batter, others have the cook spread the fruit between the batter and streusel topping, as a separate layer. The batter is very dense, and as the cake cooks, the batter sinks to the bottom, and pushes the fruit and streusel up, making them “buckle,” or give way. In other words, the “buckle” in question is derived from the verb, with the meaning of “to bend, warp, bulge, or collapse.” Etymologically speaking, buckle derives from Middle English bokel, from Old French boucle, from Latin buccula, the cheek strap of a helmet, itself derived from a diminutive of bucca, or “cheek.”
A cobbler is a Southern fruit dessert. The fruit is usually peaches, or berries; either blackberries, raspberries or cherries. Biscuit dough is dropped in spoonfuls over a mixture of fruit and syrup (made with sugar and fruit juice) or biscuit dough is rolled out and placed over fruit filling as a top layer, sealing in the juice and berries. The OED associates cobblers with the American west, and offers Bartlett’s Dictionary of 1859 as the first attestation “A sort of pie, baked in a pot lined with dough of great thickness, upon which the fruit is placed; according to the fruit, it is an apple or a peach cobbler.” The OED subsequently refers to Mark Twain’s 1880 travelography Tramp Abroad, and a “Peach cobbler, Southern style.” I confess that I have no clue about the etymology of cobbler (neither does the AHD who offers “Origin unknown”); or why a word associated with manufacturing shoes, or temporary fixes might be associated with such a delightful dessert. I note, in passing, that it’s possible that the meaning of cobbler in this context is related to the use of cobble as a verb to mean “One who mends clumsily, a clumsy workman, a mere botcher.” But I’m guessing, and rather wildly, at that.
Grunts and Slumps
A grunt is very much a New England dish. It’s a fruit dessert made by stewing fresh fruit, briefly, then putting the very hot fruit in a baking dish and dropping spoonfuls of a biscuit-dough like batter on to the very hot fruit. The steam from the fruit cooks the dough—and often, the escaping steam from the partially smothered and still cooling fruit creates a “grunting” noise. You normally finish cooking the grunt in an oven so that the topping is browned, and if possible, you sprinkle a little sugar on the top before you pop it in the oven, and the sugar and the juice and the steam and heat from the oven create a lovely caramel. Grunts are very much part of New England wood-stove cooking, so much so that growing up I noticed some women identified their cast iron dutch ovens as “grunts.” Elsewhere, for instance in Georgia and coastal Carolina, the same dessert is called a slump, because when you take the dessert off the heat, it slumps or falls.
It’s not uncommon to still have fresh blackberries and plums in Southern New Hampshire in late September, just as fall is about to burst forth in full glorious leafage. I still get all nostalgic about grunts and cobblers and buckles. It’s a good time now to freeze ripe peaches, so you can have peach cobbler Peach Cobbler Recipe | SimplyRecipes.com in February. And there’s no reason not to freeze,cherries, blueberries and blackberries, too. I’m a firm believer in blackberry grunt and plum grunt Blackberry Grunt Recipe | Alton Brown | Food Network , as well, and the late plums are still on trees in some parts of the U.S. I note that buckles, cobblers, grunts and slumps are all best served warm with a scoop of really good vanilla ice cream.