Saturday, November 2, 2024

Soul Cakes for Breakfast on November 2nd

 "In olde tyme good people wolde on All halowen
days bake brade and dele it for all Crysten soules."
(1511)

In England a 16th century custom was to set upon the table a pile of ''Soul-cakes,'' and every visitor was expected to take one, repeating this rhyme:

"A soule-cake, a soule-cake,
Have mercy on all Christen soules
For a soule-cake.''

       "This ancient chant of West Fenton, Shropshire, was sung until recently by bands of young people who made annual rounds of the neighborhood on All Souls' Eve (November 1), begging at each door for ''soul cakes'' for their Hallowmas feast. Soul cakes are spiced oval or round buns which, in early times, doubtless were given for prayers for the dead, or as ''a charity'' for departed souls. "Souling'', as the ceremony of singing for cakes is called, probably originated in the pagan Feast of All Souls''. Soul cakes and souling customs vary from country to country, but souling practices have always flourished best, perhaps, along the Welsh border. Nowadays the custom rapidly is dying out, even in this district, but many vestiges of the old songs still are found in tiny hamlets of Shropshire and Cheshire, as well as in Staffordshire, Lancashire and Derbyshire.
       This custom of doling out bread for all Christian souls persisted well into the seventeenth century, for John Aubrey, the English antiquary, writes in 1686 of seeing ''. . . sett on the Board a high heap of Soulcakes, lyeing one upon another'', like the ''shew bread'' in old Bible pictures. He goes on to describe the bread as ''about the bigness'' of a two-penny cake. It was customary, according to this writer, to give one to each ''souler'', who in return for the gift, droned out one of the following "old rhythms or sayings.'' (above)
       It was customary for the soulers to repeat their ditties over and over again in monotonous, droning tones, without pause or variation, as they made their rounds from parish to parish. The sound must have been familiar, indeed, to Shakespear's ears, for Speed remarks in "Two Gentleman of Verona'' that one of the ''special marks'' of a man in love is ''to speak puling, like a beggar at Hallowmas''. 
       The composition of soul cakes used to vary considerably from one county to another. Usually they were rich with eggs and milk. They were rather flat, round or oval in shape, and pungently flavored with saffron and allspice. In a highly popular sense the ''cakes'' meant ale, fruit or money - anything, in fact, that was given to the soulers at Hallowmas. It is interesting to note that from this early British institution of souling, American boys and girls throughout the United States have inherited the ever popular custom of masquerading in fantastic costumes on October thirty-first, and going from door to door in the neighborhood to demand ''something for Halloween''.
       Soul cakes, as adapted to American taste from recipes of early English housewives, make delicious teatime buns. Instead of the saffron and allspice originally employed, use of a few drops of yellow vegetable dye, if desired, and cinnamon, or a dash of nutmeg or mace.
       The following recipe, patterned after an old Shropshire recipe, makes four dozen light fluffy tea buns, or three dozen good-sized breakfast ones. These soul cakes, served hot with cider and coffee and homemade strawberry or blackberry preserves, make delicious, hearty fare for the modern American Halloween party too.'' Spicer

Shropshire Soul Cakes:

  • 6 cups sifted all-purpose flour
  • 1/2 cup butter or substitute
  • 1/2 cup sugar
  • 1 cake compressed yeast dissolved in 1/4 cup lukewarm water
  • 1 teaspoon sugar
  • 2 cups milk
  • 2 teaspoons salt
  • 4 teaspoons cinnamon
Directions:
  1. Cream together the butter and sugar.
  2. Crumble yeast in 1/4 cup lukewarm water, to which 1 teaspoon sugar has been added.
  3. Set yeast mixture in warm place until it becomes light and spongy.
  4. Scald milk and add to the creamed butter and sugar.
  5. When creamed mixture is cooled, add the yeast mixture.
  6. Sift flour, salt and cinnamon together.
  7. Add the dry ingredients gradually to the wet, kneading into a soft dough.
  8. Set the sponge to rise in a warm place in a greased, covered bowl.
  9. When doubled in bulk, shape the dough into small round or oval buns.
  10. Brush the tops with beaten egg. 
  11. Bake in moderately hot oven at 400 degrees for 15 minutes, dropping the oven temperature to 350 and baking until the buns are delicately browned and thoroughly done.
  12. Yields 18-24 cakes, according to size.

Hungry for History teaches about soul cakes and church history. 
November 2nd was set apart for the traditions observing 
the souls of the departed in Christ.

Wednesday, November 9, 2022

Those Crazy, Crazy Quilts!

      The term "crazy quilting" is often used to refer to the textile art of crazy patchwork and is sometimes used interchangeably with that term. Crazy quilting does not actually refer to a specific kind of quilting (the needlework which binds two or more layers of fabric together), but a specific kind of patchwork lacking repeating motifs. A crazy quilt rarely has the internal layer of batting that is part of what defines quilting as a textile technique.
      Regular patchwork combines the pieces of fabric into a predetermined and regular design, but crazy patchwork uses irregular pieces of fabric without pattern on a foundation fabric or paper. This may create haphazard-looking and asymmetrical designs, or the designer may use some control in placement. Patches can be hand appliquéd onto a base fabric. This method gives the most variety as every patch is unique. There are also block patterns designed for crazy quilt that can be sewn by machine. Sometimes part of a crazy quilt is haphazard while other parts are placed in a planned pattern. A common example of this the placement of patches is a fan pattern. The patches and seams are then usually heavily embellished.
      Crazy quilting created a stir in the 1880's when it became quite a fad in the United States. The Japanese Exhibit in the 1876 Philadelphia Centennial Exposition inspired the crazy quilt with its asymmetrical art. Articles encouraging crazy quilting, or condemning it, could be found in women's publications. Women could purchase packages of random fabrics, as well as already embellished pieces, to use in their own crazy quilts. During the first several years of the crazy quilting fad, fine fabrics and heavy embellishment were the norm. As time passed quilters began to make simpler quilts in the crazy quilt style. Thrifty housewives used everyday fabrics like wool or cotton and little or no embellishment to create more serviceable quilts than the original fancy crazy quilts with the added benefit of using up small or odd-shaped scraps left over from making clothing for the family or other household sewing projects.

Tamar Horton Harris North. “Quilt (or decorative throw), Crazy pattern”. ~1877. 54 ½ × 55 in. Metropolitan Museum of Art.

An Amish crazy quilt created by Lydia Beachy between 1910-1920, made
 of cotton, measures 80 7/8 in. by 62 1/4 in. Part of Smithsonian
American Art Museum Collection.

The Delphinium Embroidery Block

The Original Instructions: Two shades of blue with green leaf are used to embroider this block. The buds and most of the center spike are the lighter blue, while the darker value is used for the larger blossoms to the outside. A few of the bottom flowers might be a third darkest blue or purple. Centers are yellow.

The Cosmos Embroidery Block

The Original Instructions: The cosmos block is embroidered with orchid tint flowers, pink buds, green leaves and slender stems, with yellow French knot centers to the blossoms.

Sunday, October 23, 2022

The Lily of The Valley Embroidery Block

Lily-of-the-Valley Block No. 9
Original Instructions: If you are using ivory or other dainty-tint background for the quilt blocks, these blossoms may be embroidered in white with the green of the stem embroidering the few small buds at the ends. Leaves are darker green.

Thursday, October 20, 2022

The Rose Embroidery Block

The Rose Block No. 8
Original Instructions: The colors suggested are deepest crimson and American beauty tones, rose or salmon pink, yellow or even white. However, to best balance in with all flowers in the made-up quilt, two tones of rose pink using the darker to the center are lovely with dull green leaves. Thorns may be dark red on the same light green of the stems.

The Burden In Heaven

 "For we that are in this tabernacle do groan, being burdened: not for that we would be unclothed, but clothed upon, that mortality might be swallowed up of life." 2 Corinthians 5: 4.

       "Not for that we would be unclothed."  I understand Paul to mean ''not that we would be unclothed of our burdens in the future world." And this is a very strange saying. Paul is comparing earth with heaven. He says, '' In this tabernacle we groan, being burdened." We expect him to add, "when we get to heaven we shall make up for it by a life of ease." On the contrary, he says the advantage of heaven will be that we shall be able to hear our burdens, '' mortality shall be swallowed up of life." The burden which is a hindrance here will cease to be a hindrance there. Why does not Paul rather want to get rid of it altogether - to be unclothed of it? Because he sees a use for it yonder. I remember when I was minister of Innellan attending the last hours of a little deformed girl. She had been a lifelong invalid. She had borne years of pain with the most extraordinary patience. I asked her, in wonder, how she could bear so bravely. I expected her to answer, "I weep now; I shall laugh yet" - '' I go on foot now; I shall have a carriage yet " - " I have poor raiment now; I shall wear diamonds yet." Instead of that, she said, "O sir! you know I am training to be a ministering spirit." That little girl had seen the bridal of the earth and sky - the marriage supper of the Lamb.
       For indeed, my soul, what thou needest is not an unclothing of thy burden; it is that thy burden should be swallowed up in the life of love. Why has thy Father given thee a burden here? To make thee long for the beauty of heaven? A burden is a bad preparation for beauty. If Heaven is exclusively a place of flowers, thou shouldst be in the garden now. Why art thou not now in the garden? It is because thou art not training for a garden. Thou art training to be a ministering spirit. That is why God does not unclothe thee of thy heavy garments. The heavy garments are the fashion up yonder - only, they no longer oppress. God would not diminish thy load; He would strengthen thine arm. There will be more weights to carry in heaven than on earth. Wouldst thou enter into the joy of thy Lord? The joy of thy Lord is burden-bearing. He began by feeling the heaviness of the vesture; but love made it a garment of praise; and now His yoke is easy and His burden is light. Thou shalt not need to be divested of thy care when thou shalt enter into the joy, into the sympathy, of Jesus.