Mix together well, add 1 medium grated apple, mix again, beat three eggs plus 140ml brandy, add to dry mixture, stir together well.
Grease pudding basin with butter, cut a small piece of grease proof paper to cover bottom, pack in pudding, cover with parchment another round of grease proof paper, cover with large squares grease proof paper and tin foil, tie up tightly with string and make string handle to prevent water from invading pudding. Set on saucer in large covered pan, water half way up pudding basin and boil for 3 ½ hours.
To learn more about Mrs. Vogler and her cooking adventures, click here.
Click here to purchase a copy of Christmas with Dickens by Pen Vogler.
2 cups fresh breadcrumbs (freshly baked bread is best)
1 cup Crisco vegetable shortening(freeze and grate)
½ cup dark brown sugar
¼ cup black strap molasses
¼ cup honey
1 teaspoon ground cinnamon
¼ teaspoon ground cloves
grated zest of 1 lemon
grated zest of 1 orange plus juice
3 large eggs
Method
Soak all fruit in Brandy for a week.
In a large mixing bowl, combine brandied fruit with remaining ingredients, add cup of dark rum.
Mold and steam for 3 ½ hours.
Remove pudding, poke holes in top with fork, pour over Jim Beam Whiskey, cover tightly in parchment paper and foil, serve when ready. Will last up to six months in refrigeration.
“The Leda, in the Colonna palace, by Correggio, is dead-coloured white and black, with ultramarine in the shadow ; and over that is scumbled, thinly and smooth, a warmer tint,—I believe caput mortuum. The lights are mellow ; the shadows blueish, but mellow. The picture is painted on panel, in a broad and large manner, but finished like enamel : the shadows harmonize, and are lost in the ground. Continue reading Sir Joshua Reynolds — Notes from Rome
WHEN did books first come to be burnt in England by the common hangman, and what was the last book to be so treated? This is the sort of question that occurs to a rational curiosity, but it is just this sort of question to which it is often most difficult to find an answer. Historians are generally too engrossed with the details of battles, all as drearily similar to one another as scenes of murder and rapine must of necessity be, to spare a glance for the far brighter and more instructive field of the mutations or of the progress of manners. The following work is an attempt to supply the deficiency on this particular subject.Continue reading Books Condemned to be Burnt
Cannone nel castello di Haut-Koenigsbourg, photo by Gita Colmar
Without any preliminary cleaning the bronze object to be treated is hung as cathode into the 2 per cent. caustic soda solution and a low amperage direct current is applied. The object is suspended with soft copper wires and is completely immersed into the solution. In case the object is very soft and fragile or completely mineralized, fine annealed copper wire is wrapped around the object, one to two turns per inch, and electrical connections are made with several turns of this wire. Where there is danger that object might not hold together upon the removal of the hard supporting shell, we have found it advisable to to pack the whole object in clean white sand, after making proper electrical connections, and then filling the containers with the caustic soda solution. Continue reading Method of Restoration for Ancient Bronzes and other Alloys
Como dome facade – Pliny the Elder – Photo by Wolfgang Sauber
Work in Progress…
THE VARNISHES.
Every substance may be considered as a varnish, which, when applied to the surface of a solid body, gives it a permanent lustre. Drying oil, thickened by exposure to the sun’s heat or a fire, is a varnish and as such has often been employed. It is, however, probable that varnishes, composed of resins dissolved in oil, have been used in very ancient times.
But it is beyond all doubt, that when the arts flourished in Greece, the composition of varnish had long been known in India, Persia, and China. It is not then to be supposed that the Greeks were unacquainted with this art. Yet such would have been the case if we give credit to a paragraph in Pliny, who tells us that Apelles was indebted for his unequalled colouring to the employment of a liquid which he calls “Atramentum,” with which he covered his pictures when they finished, and with which substance no other painter was acquainted. Pliny observes, “that there is in the pictures of Apelles a certain effect, that cannot be equalled, and that tone was obtained by means of atramentum, which fluid he passed over his pictures when the painting was completely finished. Continue reading Artist Methods
Pencil sketch of Sir Charles Lock Eastlake by John Partridge (Queen Victoria’s favourite portrait painter), 1825
From the work of Sir Charles Lock Eastlake entitled Materials for a history of oil painting, (London: Longman, Brown, Green, and Longmans, 1846), we learn the following:
The effect of oil at certain temperatures, in penetrating “the minute pores of the amber” (as Hoffman elsewhere writes), is still more strikingly exemplified in an invention, or perhaps and old method revived, Christian Porschinen of Königsberg, at the close of the seventeenth century (June, 1691). He succeeded in rendering amber colourless, so as to employ it as substitute for magnifying glasses. Zedler ( Grosses vollständiges Univ. Lexicon, art. Bersteinerner Brenn-Spiegel) describes the process. The manufacturer placed the amber, already formed and polished for the intended use, in linseed oil exposed to a moderate fire, and suffered it to remain till it had entirely lost its yellow colour, and had become quite clear and transparent. Zedler states that lenses so prepared are more powerful than those made of glass in igniting gunpowder (welche viel schneller in Brennen and Pulver-anzunden sind als die glasernen).
The same process was afterwards adopted for clarifying amber beads, so as to render them transparent like glass. The method is probably most successful when the substance is not very thick. For a further account of this invention Zedler refers to Hen. von Sanden, Disp. de Succino Electricorum principe, Königsberg, 1714. Dreme (Der Virniss-und Kittmacher) alludes to similar methods. “Amber boiled in linseed oil is softened so that it may be bent and compressed: opaque or clouded amber by this process becomes light and transparent. The oil should be heated gradually, otherwise, the pieces of amber are liable to crack. ” Such modes of clarifying amber might be employed with effect, preparatory to its solution by some of the means before indicated.
Before meeting with an untimely death at the hand of an unknown assassin in Rome on January 11th, 1996, master forger Eric Hebborn put down on paper a wealth of knowledge about the art of forgery. In a book published posthumously in 1997, titled The Art Forger’s Handbook, Hebborn suggests the following three books as being the cornerstone to any good art forger’s library:
Water, 1 gallon; sugar 2 pounds of water. 61/2 pints, and simple syrup. 2 1/2 pints; 2 pints of pineapple stock or 1 pint of pineapple stock and 1 pint of grated pineapple juice of 6 lemons. Mix, strain and freeze.
Roman Sour.
Wild cherry syrup, 1 ounce; lime juice 1/2 ounce, and the half of a fresh lime. Place in a suitable glass, and cracked ice and fill the glass with carbonated water. Top off with a maraschino cherry and a toothpick.
Gold or silver watch chains can be cleaned with a very excellent result, no matter whether they may be matt or polished, by laying them for a few seconds in pure aqua ammonia; they are then rinsed in alcohol, and finally. shaken in clean sawdust, free from sand. Imitation gold and plated chains are first cleaned in benzine, then rinsed in alcohol, and afterwards shaken in dry sawdust. Genuine gold chains are first dipped in the following pickle: Pure nitric acid is mixed with concentrated sulphuric acid in the proportion of ten parts of the former to two parts of the latter; a little table salt is added. The chains are boiled in this mixture, then rinsed several times in water, afterward in alcohol, and finally dried in sawdust.
THE shirk is a well-known specimen of the genus homo. His habitat is offices, stores, business establishments of all kinds. His habits are familiar to us, but a few words on the subject will not be amiss. The shirk usually displays activity when the boss is around, and masterful inactivity when the boss is out of sight. Some times he makes a pretense of working, for the benefit of his fellow clerks. Now and then he comes out boldly and loafs openly, except on those occasions when the boss is in the neighborhood and perhaps not feeling any too indulgent. The shirk is quick to detect these changes in the official barometer. The shirk, of course, is always the last one at work and the first to depart. He takes all the sick leave permissible and generally manages to get a few days extra. Continue reading The Shirk — An Old but Familiar Phenomena
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