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Brears - Jellies & Their Moulds

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Brears Jellies & Their Moulds
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Peter Brears has a long acquaintance with jellies in every guise. He was fed them in childhood, he turned to curating their moulds and associated artefacts while director of York and Leeds museums, he has made them for innumerable historical food shows and events. And jelly is a much bigger thing than some packet from the supermarket mixed with boiling water. In the first place, it was not factory-made gelatine that did the setting, but any number of ingenious adaptations of kitchen materials and ingredients. In the second, it was not just a simple clear, coloured solid, but an optical prism to.;Cover; Jellies; Title; Copyright; Contents; List of illustrations; Acknowledgements; Introduction; Chapter One Of Gelatin; Chapter Two Of Jellies, Gums & Starches; Chapter Three Medieval Jellies; Chapter Four Tudor Jellies; Chapter Five Stuart Jellies; Chapter Six Georgian Jellies; Chapter Seven Victorian Jellies & their Moulds; Chapter Eight The Twentieth Century & its Moulds; Chapter Nine The Repertoire; Bibliography; General Index; Recipe Index.

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ACKNOWLEDGEMENTS

I would first like to thank the Gelatine Manufacturers of Europe, who, through Team Saatchi and its representative Beverley Wigg, asked me to organize the first British Jelly Festival in 1995, and to thank Chivers who asked me to lead the week-long events which culminated in Irelands first National Jelly Day in 1996. These projects concentrated the mind on a previously neglected area of our culinary heritage to such a degree that my life appeared to be dominated by jelly for several years. The success of these events would not have been possible, however, without considerable practical help from my friends Marc and B. Meltonville, Richard Fitch and Robin Mitchener, and the cooperation of Diana Owen of the National Trusts Petworth House in Sussex, Terry Suthers, Director of Harewood House Trust in Yorkshire and Richard Pailthorpe, manager of the Duke of Northumberlands seat at Syon House, Middlesex. Chivers in-house staff could not have been more helpful, nor the cooks at Dublin Zoo, who welcomed me into their kitchens. Particular thanks are also due Rosie Allan at The North of England Open Air Museum at Beamish for her great help when researching mould-manufacturers catalogues and to Pam Woolescroft of Spode for access to the catalogues and other resources in their collections.

I would also like to extend my warmest thanks to Mrs Susan Houghton for contributing so much to this book, and my publisher Tom Jaine for the care he has taken in putting it into production. Finally, I must thank the late Peter Williams, one of the finest still-life and food photographers of his generation, for his work at the Jelly Festivals where we first met. His great skills in composition and lighting are self evident on the front cover and elsewhere in this volume.

Peter Brears,
Leeds 2010

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