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Sweets. They're our guilty pleasure. | 0:00:02 | 0:00:06 | |
Today, British confectionery is a £6 billion industry. | 0:00:07 | 0:00:12 | |
But where did it all begin? | 0:00:12 | 0:00:14 | |
We've asked four modern confectioners | 0:00:16 | 0:00:18 | |
to go back in time to work their way through | 0:00:18 | 0:00:22 | |
three eras that revolutionised their trade. | 0:00:22 | 0:00:24 | |
From the birth of their profession four centuries ago, | 0:00:27 | 0:00:29 | |
where they'll craft luxuries for Tudor aristocrats... | 0:00:29 | 0:00:33 | |
-SHE GASPS -It's cracking, Cyn. It's getting worse - look. | 0:00:33 | 0:00:37 | |
..to Georgian entrepreneurs storming the high street | 0:00:37 | 0:00:40 | |
and tempting the fashionable middle classes. | 0:00:40 | 0:00:42 | |
Mould! Chocolate? | 0:00:43 | 0:00:45 | |
-Jelly. -Both? | 0:00:45 | 0:00:47 | |
And, finally, they'll work on the production line of a 20th-century factory, | 0:00:47 | 0:00:51 | |
making affordable goodies for the masses. | 0:00:51 | 0:00:54 | |
You're a cog in a wheel. | 0:00:54 | 0:00:56 | |
I'm a chocolate dipper. | 0:00:56 | 0:00:57 | |
Our 21st-century confectioners will be learning to make the sweet treats | 0:00:57 | 0:01:01 | |
of the past. They'll be using the ingredients, | 0:01:01 | 0:01:04 | |
recipes and equipment of the time. | 0:01:04 | 0:01:07 | |
It looks like a tapeworm. | 0:01:07 | 0:01:09 | |
This is bum-clenching stuff. | 0:01:09 | 0:01:11 | |
They'll experience first-hand the triumphs... | 0:01:11 | 0:01:14 | |
THEY CHEER | 0:01:14 | 0:01:15 | |
..and the trials of their profession. | 0:01:15 | 0:01:17 | |
-Oh, that's hot. -Hot, hot, hot! | 0:01:17 | 0:01:20 | |
And they'll be creating sugary masterpieces, | 0:01:21 | 0:01:24 | |
which haven't been tasted for hundreds of years. | 0:01:24 | 0:01:28 | |
Oh, my God. That is amazing. | 0:01:29 | 0:01:32 | |
But as well as making the treats of the past, | 0:01:33 | 0:01:35 | |
our confectioners will be exploring the bittersweet story of sugar, | 0:01:35 | 0:01:39 | |
an ingredient that transformed Britain, | 0:01:39 | 0:01:42 | |
shaping our empire, bankrolling our cities, igniting our slave trade... | 0:01:42 | 0:01:47 | |
The cruelty is just unbearable. | 0:01:48 | 0:01:51 | |
..and changing the way we eat for ever. | 0:01:51 | 0:01:54 | |
-Whoo! -THEY CHEER | 0:01:54 | 0:01:56 | |
Andy Baxendale, Diana Short, | 0:02:09 | 0:02:12 | |
Paul A Young and Cynthia Stroud | 0:02:12 | 0:02:15 | |
all work with sugar on a daily basis. | 0:02:15 | 0:02:18 | |
But they are about to experience life as confectioners | 0:02:19 | 0:02:22 | |
from 400 years ago, | 0:02:22 | 0:02:24 | |
when sugar was a rare and precious commodity in England. | 0:02:24 | 0:02:28 | |
We owe a huge debt of gratitude to everybody who went before and | 0:02:28 | 0:02:33 | |
discovered the methods and discovered the ways of doing things. | 0:02:33 | 0:02:36 | |
And so much we do in modern confectionery, we take for granted. | 0:02:36 | 0:02:40 | |
They'll be working as servants at Haddon Hall in Derbyshire, | 0:02:41 | 0:02:45 | |
recreating original recipes from the 1580s - | 0:02:45 | 0:02:48 | |
as printed English cookbooks began to mention sugar - | 0:02:48 | 0:02:51 | |
through to the 1660s, when growing trade links were transforming | 0:02:51 | 0:02:55 | |
the confectioners' world. | 0:02:55 | 0:02:57 | |
I don't know anything but I'm really excited | 0:02:57 | 0:03:00 | |
to find out what we're going to get stuck with, if you like, | 0:03:00 | 0:03:02 | |
get stuck in and get dirty. | 0:03:02 | 0:03:05 | |
Sugar was an expensive luxury in this period, | 0:03:05 | 0:03:08 | |
reserved for the upper classes. | 0:03:08 | 0:03:11 | |
Over the next four days, | 0:03:11 | 0:03:12 | |
our confectioners will be creating exquisite dishes to be served | 0:03:12 | 0:03:15 | |
at an intimate aristocratic sugar banquet. | 0:03:15 | 0:03:18 | |
Wow. Oh, my goodness. | 0:03:27 | 0:03:29 | |
You feel properly like you're back in Tudor times. | 0:03:29 | 0:03:32 | |
I can hear the lutes already. THEY LAUGH | 0:03:32 | 0:03:35 | |
-Shall we go to the kitchen? -Yeah. -Come on, then. -Yeah, let's go for it. | 0:03:35 | 0:03:38 | |
Our confectioners are entering a remarkable portal to the past, | 0:03:40 | 0:03:44 | |
a kitchen which has some of the oldest working ovens and equipment | 0:03:44 | 0:03:48 | |
in the country. | 0:03:48 | 0:03:49 | |
-Wow. -Oh, my goodness. | 0:03:50 | 0:03:52 | |
This is what I love, worn away by time, | 0:03:52 | 0:03:55 | |
all the effort that's gone into chopping or... | 0:03:55 | 0:03:57 | |
-Is that wood? -What does that do? | 0:03:57 | 0:03:59 | |
It looks a bit disturbing. | 0:03:59 | 0:04:01 | |
That's our stove. | 0:04:01 | 0:04:02 | |
The heater. It's to let the air in, | 0:04:02 | 0:04:04 | |
-so you can get it going. -Oh, right. | 0:04:04 | 0:04:06 | |
Stuff on there and it balances. | 0:04:06 | 0:04:09 | |
Where do you think the oven is? | 0:04:09 | 0:04:10 | |
-Oh, yeah. -I see the flue, but... | 0:04:10 | 0:04:12 | |
But there's nowhere to bake. | 0:04:12 | 0:04:14 | |
This kitchen has none of the modern gadgets they rely on, | 0:04:14 | 0:04:17 | |
and so will require all of their skills and intuition | 0:04:17 | 0:04:20 | |
as confectioners. | 0:04:20 | 0:04:21 | |
Oh, there's the oven. Looks like my pizza oven. | 0:04:21 | 0:04:24 | |
So much of it just looks so strange and counterintuitive. | 0:04:25 | 0:04:29 | |
Nothing looks like what it's supposed to be. | 0:04:29 | 0:04:32 | |
Only the upper echelons of society could afford to employ | 0:04:32 | 0:04:35 | |
their own confectioners. | 0:04:35 | 0:04:37 | |
As artisans working with such a precious commodity, | 0:04:37 | 0:04:40 | |
they were highly valued. | 0:04:40 | 0:04:42 | |
Royal confectioners had their own department | 0:04:42 | 0:04:45 | |
and were paid around £20 a year, | 0:04:45 | 0:04:47 | |
triple the wages of an urban labourer. | 0:04:47 | 0:04:50 | |
Welcome to Haddon Hall, | 0:04:51 | 0:04:53 | |
and welcome to your kitchen. | 0:04:53 | 0:04:54 | |
Thank you. | 0:04:54 | 0:04:56 | |
I'm Dr Annie Gray, | 0:04:56 | 0:04:57 | |
a food historian, and I'll be guiding the confectioners, | 0:04:57 | 0:05:00 | |
together with social historian Emma Dabiri. | 0:05:00 | 0:05:03 | |
Well, this is your home for the next four days. | 0:05:03 | 0:05:06 | |
It's a bit different to the kitchens you'll be used to. | 0:05:06 | 0:05:09 | |
One of the primary things you'll notice is the lack of heating... | 0:05:09 | 0:05:11 | |
-Yes. -..which is clearly going to be a slight issue, | 0:05:11 | 0:05:14 | |
given that sugar work normally requires things like, you know, | 0:05:14 | 0:05:17 | |
heat and a dry atmosphere. | 0:05:17 | 0:05:19 | |
But we can overcome everything. | 0:05:19 | 0:05:21 | |
The kitchen's not the only thing that's unfamiliar. | 0:05:22 | 0:05:25 | |
The hard cones of Tudor sugar are nothing like what they're used to working with. | 0:05:25 | 0:05:30 | |
So, guys, this is the beating heart of the confectioners' world. | 0:05:31 | 0:05:35 | |
-This is sugar. -Wow. | 0:05:35 | 0:05:36 | |
-How does it smell? -Fantastic. | 0:05:36 | 0:05:38 | |
It smells, it smells like actual sugar that you're used to, but... | 0:05:38 | 0:05:40 | |
-It's really fruity. -..that's where it stops. | 0:05:40 | 0:05:43 | |
-And treacly. -Treacle, yeah. -Christmas pudding-y. -Christmas pudding. | 0:05:43 | 0:05:46 | |
The earliest records of sugar in England | 0:05:46 | 0:05:48 | |
are from the 12th century, when it was used sparingly as a condiment. | 0:05:48 | 0:05:52 | |
As the trade routes of English merchants expanded across | 0:05:53 | 0:05:56 | |
Europe and Africa, | 0:05:56 | 0:05:58 | |
more sugar began to be imported from the cane fields of Morocco, | 0:05:58 | 0:06:01 | |
Madeira, Spain and Sicily. | 0:06:01 | 0:06:03 | |
By the 16th century, 400 years later, | 0:06:04 | 0:06:07 | |
confectionery had become a regular feature on the tables of the English elite. | 0:06:07 | 0:06:13 | |
So, I don't know how much you guys know about sugar cane | 0:06:13 | 0:06:15 | |
but as soon as it's cut, it's very quickly squashed and then pressed, | 0:06:15 | 0:06:19 | |
and the juice that comes out is boiled and then crystallised. | 0:06:19 | 0:06:23 | |
But, unlike modern sugar, which is made under quite strict, | 0:06:23 | 0:06:26 | |
hygienic conditions, thankfully, | 0:06:26 | 0:06:28 | |
this is quite a different prospect. | 0:06:28 | 0:06:30 | |
This crude sugar was often very dirty. | 0:06:30 | 0:06:33 | |
You might have been treated to such delights as bacteria, lice... | 0:06:33 | 0:06:37 | |
-Oh. -Lovely. -..soil or even hair. | 0:06:37 | 0:06:40 | |
The English lust for sugar launched a new type of business. | 0:06:42 | 0:06:46 | |
As early as 1544, | 0:06:47 | 0:06:49 | |
London boasted two sugar refineries, processing barrels | 0:06:49 | 0:06:52 | |
of cane juice into sugar cones to be sold to the wealthy. | 0:06:52 | 0:06:57 | |
So, up until the 19th century, | 0:06:57 | 0:07:00 | |
there are tons of different grades of sugar and that's because sugar | 0:07:00 | 0:07:03 | |
was so incredibly expensive to refine. | 0:07:03 | 0:07:06 | |
So the darker it is, the kind of lower quality it is. | 0:07:06 | 0:07:09 | |
The whiter it gets, the higher grade of sugar it is. | 0:07:09 | 0:07:12 | |
So, the first thing you're going to have to do, | 0:07:12 | 0:07:13 | |
as professional confectioners, is to clarify your sugar, | 0:07:13 | 0:07:17 | |
to get rid of all the impurities. And it's a task that would've been | 0:07:17 | 0:07:20 | |
carried out on an almost daily basis in some cases, | 0:07:20 | 0:07:22 | |
because you can't work with this. | 0:07:22 | 0:07:25 | |
Now, we do know at Haddon, | 0:07:25 | 0:07:26 | |
better grades of sugar were bought in from time to time | 0:07:26 | 0:07:29 | |
but we're now in the late Tudor period, | 0:07:29 | 0:07:32 | |
it's still hard to buy in those sugars, | 0:07:32 | 0:07:34 | |
so let's start with the basics. | 0:07:34 | 0:07:36 | |
You do have a recipe... | 0:07:38 | 0:07:40 | |
-Oh, amazing. -Oh, my God. -..taken from the original books. | 0:07:40 | 0:07:42 | |
So, the first job is to decipher what they're actually saying. | 0:07:42 | 0:07:46 | |
One of the key points about sugar is that not only is it very, very | 0:07:46 | 0:07:49 | |
expensive as a raw material, but it's incredibly labour-intensive. | 0:07:49 | 0:07:53 | |
So if you are able to display sugar, | 0:07:53 | 0:07:55 | |
then you are showing that you can afford to buy it, | 0:07:55 | 0:07:57 | |
afford to have the staff to process it, the time to process it. | 0:07:57 | 0:08:01 | |
Our confectioners are following rare original recipes. | 0:08:02 | 0:08:05 | |
-Shall I start chopping? -Yep. | 0:08:05 | 0:08:08 | |
Early printed cookbooks were invariably written by men, | 0:08:08 | 0:08:11 | |
as less than 10% of women were literate at this time. | 0:08:11 | 0:08:14 | |
"The manner to clarify sugar and honey. | 0:08:15 | 0:08:17 | |
"Good sugar, which is white and clear..." | 0:08:17 | 0:08:20 | |
-That's not easy. -No. -You would get blisters. | 0:08:21 | 0:08:24 | |
I've found a technique. | 0:08:27 | 0:08:29 | |
It's like chopping wood. Look. | 0:08:29 | 0:08:30 | |
-Yeah. -It comes off. | 0:08:30 | 0:08:32 | |
It's so labour-intensive just getting the sugar. | 0:08:32 | 0:08:35 | |
Chocolatier Paul has turned his childhood passion | 0:08:39 | 0:08:42 | |
for all things sweet into a career. | 0:08:42 | 0:08:45 | |
He now runs three boutique chocolate shops in London. | 0:08:46 | 0:08:49 | |
I love working with chocolate because it really fulfils | 0:08:51 | 0:08:53 | |
every aspect of being a creative person. | 0:08:53 | 0:08:57 | |
I think anyone who's given a cookbook that is from their parents | 0:08:57 | 0:09:00 | |
or grandparents or great-grandparents, | 0:09:00 | 0:09:02 | |
you have to value them a lot. | 0:09:02 | 0:09:04 | |
It's all my mum's recipes, | 0:09:04 | 0:09:06 | |
they're all handwritten, and the predominant recipes are sweet. | 0:09:06 | 0:09:10 | |
Like, every page. | 0:09:10 | 0:09:12 | |
It's messy as well. | 0:09:15 | 0:09:16 | |
-It is, yes. -This is precious sugar. | 0:09:16 | 0:09:18 | |
Just as confectioners did more than 400 years ago, | 0:09:18 | 0:09:21 | |
our team are using only the most primitive heat sources - | 0:09:21 | 0:09:25 | |
charcoal-fuelled chafing stoves. | 0:09:25 | 0:09:27 | |
But first they have to get them lit. | 0:09:29 | 0:09:31 | |
I nearly set myself on fire. | 0:09:31 | 0:09:33 | |
Working with all of this around you, you know, | 0:09:35 | 0:09:37 | |
it's not what we're used to. | 0:09:37 | 0:09:38 | |
We're used to having close-fitting garments which don't get in the way, | 0:09:38 | 0:09:42 | |
which don't float around, | 0:09:42 | 0:09:43 | |
and you just, you forget they're there, you know, | 0:09:43 | 0:09:46 | |
and you turn and that's it, and suddenly you're caught. | 0:09:46 | 0:09:48 | |
Wow. There is our stove, look. | 0:09:51 | 0:09:53 | |
They did not need to go to the gym back then. | 0:09:58 | 0:10:00 | |
It's so physical. | 0:10:00 | 0:10:02 | |
We think we work hard now, don't we? | 0:10:02 | 0:10:04 | |
-No. -We don't have a clue, really. | 0:10:04 | 0:10:07 | |
Without the clocks, | 0:10:07 | 0:10:08 | |
scales and measuring jugs of their 21st-century kitchens, | 0:10:08 | 0:10:12 | |
the confectioners are having to improvise. | 0:10:12 | 0:10:15 | |
That looks about the size of a pint glass. | 0:10:15 | 0:10:17 | |
-How are we doing? -We're good. | 0:10:18 | 0:10:20 | |
One of the things you've clearly had to get to grips with is the lack | 0:10:20 | 0:10:24 | |
of measurement, and you find various ways of measuring things, | 0:10:24 | 0:10:28 | |
both time and weights, that you find in books like this. | 0:10:28 | 0:10:30 | |
Say, for example, you may well find a recipe | 0:10:30 | 0:10:33 | |
that calls for a walnut-sized piece of butter, | 0:10:33 | 0:10:35 | |
knowing that everyone knows what a walnut looks like. | 0:10:35 | 0:10:38 | |
-Yeah. -Or something where you're stirring something | 0:10:38 | 0:10:40 | |
for the time it takes to say an Ave Maria, knowing that everybody... | 0:10:40 | 0:10:44 | |
-Ah, that's clever. -..knows how long it takes to say an Ave Maria. | 0:10:44 | 0:10:47 | |
It tastes lovely in the air. | 0:10:48 | 0:10:49 | |
To clean the pulverised sugar, it must be boiled up in water... | 0:10:51 | 0:10:55 | |
..and then beaten together with egg whites. | 0:10:56 | 0:10:59 | |
-Keep beating, little rod. -I... | 0:10:59 | 0:11:01 | |
THEY LAUGH | 0:11:01 | 0:11:02 | |
My little rod is working very hard. | 0:11:02 | 0:11:05 | |
Paul is using a primitive Tudor whisk, | 0:11:05 | 0:11:07 | |
basically a bundle of sticks. | 0:11:07 | 0:11:09 | |
It's good, isn't it? That works. My little rod works. | 0:11:11 | 0:11:14 | |
There's a lot of froth on the top. | 0:11:14 | 0:11:15 | |
When the egg white sets, | 0:11:15 | 0:11:17 | |
that will be the thing that we'll able to take off. | 0:11:17 | 0:11:19 | |
This is a familiar technique to trained chef and chocolatier Diana. | 0:11:23 | 0:11:26 | |
Her grandfather was a chef at the Hyde Park Hotel in London | 0:11:27 | 0:11:31 | |
in the 1940s, and the desire for culinary perfection is in the blood. | 0:11:31 | 0:11:36 | |
I suppose I'm anxious about not being able to achieve | 0:11:38 | 0:11:40 | |
what I would like to achieve in any given situation. | 0:11:40 | 0:11:44 | |
I don't like things to go wrong and I get really antsy when things | 0:11:44 | 0:11:47 | |
don't turn out right and I'm kind of like, | 0:11:47 | 0:11:49 | |
"That's not good enough. I want to do it again." | 0:11:49 | 0:11:51 | |
I like to eat nice things, so I like to make nice things. | 0:11:51 | 0:11:55 | |
I think we will have to pop it back on, | 0:11:56 | 0:11:58 | |
bring it back up to the boil again and then... | 0:11:58 | 0:12:00 | |
-Quite a lot, isn't it? It's coming up. -Yeah. | 0:12:00 | 0:12:03 | |
As a desirable commodity, | 0:12:03 | 0:12:05 | |
sugar even influenced the early days of England's foreign policy. | 0:12:05 | 0:12:09 | |
In the 1580s, | 0:12:10 | 0:12:12 | |
Queen Elizabeth I forged a controversial alliance | 0:12:12 | 0:12:15 | |
with Muslim leaders, in defiance of the Pope, | 0:12:15 | 0:12:18 | |
and traded arms and cloth for sugar. | 0:12:18 | 0:12:20 | |
You can see that beautiful clear liquid underneath. | 0:12:22 | 0:12:26 | |
It doesn't look that much lighter, but there is a lot of scum. | 0:12:26 | 0:12:29 | |
The English word for sugar even comes from the Arabic sukkar, | 0:12:30 | 0:12:35 | |
and in 1588, more than 450 tons of Moroccan sugar arrived in London. | 0:12:35 | 0:12:40 | |
And the Queen and her loyal subjects weren't beyond stealing extra supplies. | 0:12:42 | 0:12:46 | |
Port records from the end of the 1580s show that more than 500 tons | 0:12:46 | 0:12:51 | |
of sugar a year were being brought back as booty | 0:12:51 | 0:12:54 | |
from raids on enemy ships. | 0:12:54 | 0:12:56 | |
-It's still really dark. -It's really, really dark. | 0:12:58 | 0:13:00 | |
That is delicious, though. | 0:13:00 | 0:13:02 | |
It's interesting that that's taken | 0:13:02 | 0:13:04 | |
half a day just to make this much sugar that you can use, | 0:13:04 | 0:13:07 | |
cos what it was before wasn't actually, | 0:13:07 | 0:13:10 | |
it wasn't stuff you could use. | 0:13:10 | 0:13:12 | |
It wasn't usable, no. Time is money. | 0:13:12 | 0:13:14 | |
-Absolutely. -It's never just the cost of the ingredients. | 0:13:14 | 0:13:16 | |
It's your salaries, it's your time. | 0:13:16 | 0:13:19 | |
-Yeah. -That is what goes to make this THE crucial ingredient. -Wow. | 0:13:19 | 0:13:24 | |
Sugar today is cheap and readily available. | 0:13:24 | 0:13:26 | |
The average person in the UK eats the equivalent | 0:13:26 | 0:13:29 | |
of 34 bags of sugar a year. | 0:13:29 | 0:13:32 | |
In the late 16th century, average consumption was far lower - | 0:13:32 | 0:13:36 | |
half a bag per year - | 0:13:36 | 0:13:37 | |
but how much you got very much depended on your class. | 0:13:37 | 0:13:41 | |
The less privileged members of society would have tasted sugar, | 0:13:44 | 0:13:47 | |
but they would not have had regular access to it. | 0:13:47 | 0:13:50 | |
It was just too expensive. | 0:13:50 | 0:13:52 | |
It was usually kept rather ostentatiously in locked caddies and | 0:13:52 | 0:13:55 | |
transported surrounded by padlocks | 0:13:55 | 0:13:57 | |
so that thieving varmints couldn't get their hands on it. | 0:13:57 | 0:14:00 | |
We know from their receipt, the Manners family, | 0:14:00 | 0:14:03 | |
who owned this house, | 0:14:03 | 0:14:04 | |
spent as much on a loaf of Madeira sugar as they would have paid | 0:14:04 | 0:14:08 | |
a carpenter to construct an entire bridge. | 0:14:08 | 0:14:11 | |
After half a day, the sugar is finally clarified | 0:14:16 | 0:14:18 | |
and the confectioners can now start work on the dishes for their banquet. | 0:14:18 | 0:14:22 | |
"Melt your sugar..." | 0:14:30 | 0:14:31 | |
The first recipe is for comfits. | 0:14:31 | 0:14:33 | |
"Half a pound of aniseed with two pounds of sugar | 0:14:33 | 0:14:36 | |
"will make fine, small comfits." | 0:14:36 | 0:14:38 | |
Seeds, such as aniseed, fennel or coriander, | 0:14:38 | 0:14:42 | |
painstakingly covered with layer upon layer of sugar. | 0:14:42 | 0:14:45 | |
We still eat liquorice comfits today. | 0:14:46 | 0:14:49 | |
For a recipe this size, | 0:14:50 | 0:14:51 | |
-this must have been such an important part of the sweet table. -Yeah, it would've been. | 0:14:51 | 0:14:55 | |
Absolutely. And when you think about it, | 0:14:55 | 0:14:56 | |
if sugar is so expensive, to coat it, you know, | 0:14:56 | 0:14:59 | |
eight to ten times at a time, building up, | 0:14:59 | 0:15:00 | |
-this is the sign of, "Look how wealthy I am." -Yeah. | 0:15:00 | 0:15:04 | |
Today, excessive sugar is known to be unhealthy, | 0:15:04 | 0:15:07 | |
but Tudor confectioners believed it had healing properties. | 0:15:07 | 0:15:10 | |
Coriander comfits were served at the banqueting table to aid digestion, | 0:15:12 | 0:15:16 | |
in the belief that they closed up the stomach | 0:15:16 | 0:15:18 | |
and prevented vomiting after a massive feast. | 0:15:18 | 0:15:21 | |
Should we check the syrup and lift a little bit out? | 0:15:23 | 0:15:26 | |
-No, it's still dropping. -Yeah, it's still watery. | 0:15:26 | 0:15:29 | |
A lot more cooking, isn't it? | 0:15:29 | 0:15:31 | |
Isn't it hard not having a sugar thermometer? | 0:15:31 | 0:15:34 | |
It is so hard. | 0:15:34 | 0:15:35 | |
Because you would just look at it. | 0:15:35 | 0:15:36 | |
Everything is so physical here, you know, you're judging things by eye, | 0:15:36 | 0:15:40 | |
it's all your five senses, | 0:15:40 | 0:15:41 | |
judging by eye, sticking your finger in and stuff. | 0:15:41 | 0:15:43 | |
Wealthy families could also buy in comfits from fairs | 0:15:45 | 0:15:48 | |
and from traders in the big cities. | 0:15:48 | 0:15:50 | |
One of the earliest of London's confectioners | 0:15:52 | 0:15:55 | |
was a Spanish comfit-maker called Balthazar Sanchez. | 0:15:55 | 0:15:58 | |
Sanchez fled to Protestant England for religious reasons. | 0:16:01 | 0:16:05 | |
Once here, he began to work for Queen Elizabeth I, | 0:16:05 | 0:16:08 | |
an arch-rival of the Catholic Spanish. | 0:16:08 | 0:16:11 | |
We can see the success of Sanchez's confectionery from this copy of | 0:16:11 | 0:16:15 | |
his will. By the time of his death in 1602, | 0:16:15 | 0:16:18 | |
he had amassed a large enough fortune to be able to leave hundreds | 0:16:18 | 0:16:21 | |
of pounds to feed London's poor and to build almshouses for them. | 0:16:21 | 0:16:25 | |
This suggests his business was so successful | 0:16:26 | 0:16:28 | |
that he had entered into the hallowed ranks of the gentry. | 0:16:28 | 0:16:31 | |
In the early days of the trade, | 0:16:33 | 0:16:35 | |
very few confectioners enjoyed the wealth that Sanchez achieved. | 0:16:35 | 0:16:39 | |
They might be highly valued craftsmen, | 0:16:39 | 0:16:42 | |
but they were still dependent on their aristocratic masters. | 0:16:42 | 0:16:45 | |
And they couldn't afford to make mistakes | 0:16:45 | 0:16:47 | |
with the most expensive ingredient in the kitchen. | 0:16:47 | 0:16:50 | |
-There we go. -Thank you very much. | 0:16:50 | 0:16:52 | |
Thank you very much. | 0:16:52 | 0:16:53 | |
Are you ready? | 0:16:54 | 0:16:56 | |
Paul and Cynthia are wrangling a balancing pan | 0:16:56 | 0:16:58 | |
as they attempt to get just the right amount of sugar syrup | 0:16:58 | 0:17:01 | |
on their coriander seeds. | 0:17:01 | 0:17:02 | |
Yeah, move that really quick or it will start to crystallise | 0:17:04 | 0:17:07 | |
just in one block. | 0:17:07 | 0:17:09 | |
It's not as easy as it looks. They're all clumping, aren't they? | 0:17:10 | 0:17:14 | |
As it crystallises, it should separate, shouldn't it? | 0:17:14 | 0:17:17 | |
That looks so much better. | 0:17:18 | 0:17:20 | |
-It does. -I had a little panic. | 0:17:20 | 0:17:22 | |
Imagine how many hours, three hours, just... | 0:17:22 | 0:17:24 | |
Yeah. I think if you've had to do this all day long, | 0:17:24 | 0:17:27 | |
you'd need a stiff drink or two. | 0:17:27 | 0:17:30 | |
A gallon of mead, please, at the end of the day, | 0:17:30 | 0:17:33 | |
-and a back massage. -Yeah. | 0:17:33 | 0:17:35 | |
With more than 50 coats of sugar required, | 0:17:35 | 0:17:37 | |
the team will have to take shifts to make sure they have enough comfits | 0:17:37 | 0:17:40 | |
for their banqueting table. | 0:17:40 | 0:17:42 | |
As a bespoke wedding cake maker, | 0:17:46 | 0:17:48 | |
Cynthia is used to creating beautiful, | 0:17:48 | 0:17:50 | |
artistic pieces under pressure. | 0:17:50 | 0:17:53 | |
She grew up in Nigeria and is completely self-taught. | 0:17:53 | 0:17:56 | |
Cake making's, like, my heart's in it. | 0:17:58 | 0:18:01 | |
It is very much linked to my childhood and baking with my mum. | 0:18:01 | 0:18:06 | |
Being thrown out of your comfort zone | 0:18:07 | 0:18:09 | |
to get to experience life basically | 0:18:09 | 0:18:12 | |
through the life of my counterparts, but hundreds of years ago, | 0:18:12 | 0:18:16 | |
you just want to see how you stack up. | 0:18:16 | 0:18:18 | |
Confectioners in the 16th and 17th centuries often worked hand-in-hand | 0:18:26 | 0:18:30 | |
with the lady of the house. | 0:18:30 | 0:18:31 | |
For aristocratic women, sugar work, be it medicinal or decorative, | 0:18:32 | 0:18:36 | |
was seen as an art, along with music and embroidery. | 0:18:36 | 0:18:40 | |
A perfect hostess's sugar banquet | 0:18:43 | 0:18:45 | |
should not only delight the taste buds of her guests, | 0:18:45 | 0:18:48 | |
but offer some unexpected bonuses. | 0:18:48 | 0:18:51 | |
This is your next ingredient. | 0:18:53 | 0:18:55 | |
Any idea what it is? | 0:18:55 | 0:18:56 | |
-Ivy? -Holly? | 0:18:56 | 0:18:58 | |
It's a plant which is known today as eryngo | 0:18:58 | 0:19:00 | |
and it was quite common in recipes | 0:19:00 | 0:19:03 | |
and used for a very, very specific purpose. | 0:19:03 | 0:19:06 | |
They were the Viagra of their day. | 0:19:06 | 0:19:08 | |
-Fantastic. -Yes. | 0:19:08 | 0:19:11 | |
-Do you know how much is there? -Well... | 0:19:11 | 0:19:13 | |
LAUGHTER | 0:19:13 | 0:19:15 | |
Culpeper said of them | 0:19:15 | 0:19:16 | |
that they "breedeth the seed exceedingly", | 0:19:16 | 0:19:18 | |
and also that they were "very good for the spirit procreative". | 0:19:18 | 0:19:22 | |
That's not at all euphemistic. | 0:19:22 | 0:19:24 | |
Well, it is a far cry from my Catholic upbringing. | 0:19:24 | 0:19:29 | |
But I am doing... It depends on how you play it. | 0:19:29 | 0:19:32 | |
I'm doing what I can to foster marital relations. | 0:19:32 | 0:19:36 | |
Andy's not taking this lightly at all. | 0:19:38 | 0:19:41 | |
Andy is trying to get every last root from there. | 0:19:41 | 0:19:44 | |
Make a fortune on Wigan market with these. | 0:19:45 | 0:19:48 | |
SHE CHUCKLES | 0:19:48 | 0:19:50 | |
Sweets to boost libido might be new to Andy, | 0:19:52 | 0:19:55 | |
but as a troubleshooter for the confectionery industry, | 0:19:55 | 0:19:58 | |
there's not much he hasn't seen. | 0:19:58 | 0:20:00 | |
To work in confectionery you have got to be fairly unflappable | 0:20:01 | 0:20:04 | |
because of the nature of the stuff. You know, you're working with | 0:20:04 | 0:20:07 | |
materials that are at high temperatures, especially the sugar. | 0:20:07 | 0:20:10 | |
If you started flapping and it goes everywhere, you know, | 0:20:10 | 0:20:12 | |
you're in trouble, so you've got to be quite cool, calm and collected. | 0:20:12 | 0:20:16 | |
I love my job the most because of the pleasure it gives other people. | 0:20:17 | 0:20:21 | |
When you give someone something that you yourself have made, | 0:20:22 | 0:20:24 | |
to see the look on their face... | 0:20:24 | 0:20:27 | |
Oh, absolutely gorgeous. | 0:20:27 | 0:20:29 | |
To complement Andy's natural Viagra, | 0:20:33 | 0:20:36 | |
Paul and Diana are getting on with the Tudor cure for gonorrhoea - | 0:20:36 | 0:20:40 | |
candied roses. | 0:20:40 | 0:20:42 | |
Edible flowers were a regular feature on 17th-century tables. | 0:20:42 | 0:20:47 | |
This is lightly beaten egg white, | 0:20:47 | 0:20:49 | |
which we're just brushing onto the petals, | 0:20:49 | 0:20:52 | |
and then we'll dip it into fine sugar. | 0:20:52 | 0:20:55 | |
By the end of Queen Elizabeth's reign in 1603, | 0:20:55 | 0:20:58 | |
better grades of white powdered sugar | 0:20:58 | 0:21:00 | |
had started to become available to confectioners. | 0:21:00 | 0:21:03 | |
England had become a major centre for refining sugar | 0:21:03 | 0:21:06 | |
for the European market. | 0:21:06 | 0:21:08 | |
We used to crystallise rose petals at home. | 0:21:09 | 0:21:12 | |
My grandma grew roses. This is the simplest thing. | 0:21:12 | 0:21:15 | |
It's like one of those things you do as a child that is a technique | 0:21:15 | 0:21:17 | |
rather than a recipe, and you get something like, look, | 0:21:17 | 0:21:21 | |
it's like a fairyland rose, | 0:21:21 | 0:21:23 | |
and I was a little bit of a fairyland kid, | 0:21:23 | 0:21:25 | |
I loved anything fairy tale. | 0:21:25 | 0:21:27 | |
Shake the excess sugar off. | 0:21:27 | 0:21:28 | |
There we go. And we're going to pop it close to the oven. | 0:21:28 | 0:21:32 | |
It crispens up the petals. | 0:21:32 | 0:21:34 | |
The roots are blanched. | 0:21:38 | 0:21:41 | |
Sadly, there's nothing magical about Cynthia and Andy's eryngo. | 0:21:41 | 0:21:47 | |
-What do you think it tastes like? -It tastes like... | 0:21:47 | 0:21:50 | |
I'll tell you a second. | 0:21:50 | 0:21:51 | |
I mean, it's got a thick coat of sugar now on it. | 0:21:52 | 0:21:55 | |
Mmm, chop suey. | 0:21:55 | 0:21:58 | |
THEY CHUCKLE | 0:21:58 | 0:21:59 | |
It tastes like a root covered in sugar. | 0:21:59 | 0:22:02 | |
It does taste like a root coated in sugar, doesn't it? | 0:22:02 | 0:22:06 | |
You'd only eat that if you were desperate for it to | 0:22:06 | 0:22:08 | |
-perform another purpose. -It's definitely medicinal. -Yes. Not for pleasure. | 0:22:08 | 0:22:12 | |
You wouldn't eat that for pleasure. | 0:22:12 | 0:22:13 | |
No, you wouldn't eat that for pleasure, definitely not. | 0:22:13 | 0:22:16 | |
An aristocratic sugar banquet was all about showing off | 0:22:28 | 0:22:32 | |
the elite's wealth and taste. | 0:22:32 | 0:22:33 | |
So with three days left, | 0:22:35 | 0:22:36 | |
the confectioners need to focus on some more spectacular dishes. | 0:22:36 | 0:22:41 | |
-Right, ready for the next task? -We are. -Yes, we are. | 0:22:41 | 0:22:44 | |
Marvellous. The late Tudor and early Stuart banqueting course | 0:22:44 | 0:22:48 | |
was a thing of beauty. | 0:22:48 | 0:22:49 | |
The next fundamental part of it is to make a thing called sugar plate. | 0:22:49 | 0:22:54 | |
There is a recipe. | 0:22:54 | 0:22:55 | |
-Great. -This one is from a book by a man called Thomas Dawson. | 0:22:55 | 0:23:00 | |
-Yes. -The main thing you'll need for it is this. | 0:23:00 | 0:23:03 | |
-Oh, it's like a fingernail. -This is gum trag. | 0:23:03 | 0:23:05 | |
-Is this gum trag? -Yeah. -Oh! | 0:23:05 | 0:23:07 | |
We actually use this at the moment. | 0:23:07 | 0:23:09 | |
Like, if you were making sugar flowers and stuff, | 0:23:09 | 0:23:11 | |
the really fine ones, you'd use that. | 0:23:11 | 0:23:14 | |
So we use that, but from powder. | 0:23:14 | 0:23:16 | |
Gum tragacanth is a natural product, it's a resin, | 0:23:16 | 0:23:19 | |
it's a sap that comes out of a plant. | 0:23:19 | 0:23:21 | |
My hat off to whoever discovered that by adding something like this | 0:23:21 | 0:23:25 | |
to icing sugar you could make something | 0:23:25 | 0:23:27 | |
-that was utterly malleable... -Yep. -..and utterly brilliant. | 0:23:27 | 0:23:30 | |
The recipe calls for you to soak it in rose water, and it does need soaking overnight. | 0:23:30 | 0:23:34 | |
-We do have some pre-soaked. -Wow! -You can smell it smells... | 0:23:34 | 0:23:36 | |
-It smells... -It smells lovely. | 0:23:36 | 0:23:38 | |
-It smells like a really good knicker drawer! -It smells lovely. | 0:23:38 | 0:23:41 | |
Turkish delight! Turkish delight. | 0:23:41 | 0:23:43 | |
The crucial thing here is to know, I suspect, | 0:23:43 | 0:23:45 | |
what you're making with your sugar plate. | 0:23:45 | 0:23:47 | |
You are going to be moulding it, which is clearly the easy route. | 0:23:47 | 0:23:50 | |
You are also, as Mr Dawson says, | 0:23:50 | 0:23:53 | |
going to be making "plates, dishes, | 0:23:53 | 0:23:54 | |
"cups and suchlike things, wherewith you may furnish a table". | 0:23:54 | 0:23:57 | |
-How cool. -And for your centrepiece for your banquet, | 0:23:57 | 0:24:01 | |
you are going to be constructing a small banqueting house made | 0:24:01 | 0:24:05 | |
out of sugar plate, but this is going to be the start | 0:24:05 | 0:24:09 | |
-of something beautiful. -OK. -I think it's going to be. | 0:24:09 | 0:24:13 | |
In the 17th century, sugar sculpting was all the rage. | 0:24:13 | 0:24:18 | |
One royal banquet at Whitehall | 0:24:18 | 0:24:20 | |
boasted a complete sugar army of horses and soldiers. | 0:24:20 | 0:24:23 | |
I added a bit more rose water, just for wetness. | 0:24:23 | 0:24:27 | |
The recipe that Paul and Cynthia are using for sugar plate | 0:24:27 | 0:24:31 | |
combines powdered sugar, egg white, | 0:24:31 | 0:24:33 | |
lemon juice and the soaked gum trag | 0:24:33 | 0:24:36 | |
to make a malleable dough that they can mould. | 0:24:36 | 0:24:39 | |
We've cut a rectangle... | 0:24:39 | 0:24:40 | |
-Yep. -..for the sides of our house. | 0:24:40 | 0:24:45 | |
So I want to get this done tonight so I'm going quite fast. | 0:24:45 | 0:24:49 | |
Cos I'm a bit concerned - we've got two days for it to dry out | 0:24:49 | 0:24:52 | |
brittle hard so we can stick it together. | 0:24:52 | 0:24:55 | |
Let's cut our edges. | 0:24:56 | 0:24:58 | |
The atmosphere is cold. It could... | 0:24:58 | 0:25:01 | |
Just take a bit longer to dry. | 0:25:01 | 0:25:03 | |
Take a long time to dry, or it could stick. | 0:25:03 | 0:25:05 | |
There we go. Two more to go, two ends and two roof. | 0:25:05 | 0:25:09 | |
Yep. | 0:25:09 | 0:25:10 | |
Banqueting houses were where a select few guests could withdraw | 0:25:18 | 0:25:22 | |
after the main meal, | 0:25:22 | 0:25:23 | |
to enjoy the sugar course, and other pleasures. | 0:25:23 | 0:25:26 | |
They were intimate spaces tucked discreetly in gardens or hidden | 0:25:26 | 0:25:31 | |
on rooftops. The English love of sugar was so great that more than | 0:25:31 | 0:25:35 | |
60 banqueting houses were built by the elite in this era. | 0:25:35 | 0:25:38 | |
How are you feeling about this? | 0:25:41 | 0:25:42 | |
I'm a bit nervous, because if you're thinking... | 0:25:42 | 0:25:44 | |
-I am! -..if you need a lot of them, you need to know it's going to work. | 0:25:44 | 0:25:47 | |
-Yes. -Hit it hard. | 0:25:47 | 0:25:49 | |
HE LAUGHS | 0:25:49 | 0:25:50 | |
-Is it coming out? -It is coming out, but bits of it are sticking. | 0:25:52 | 0:25:55 | |
Oh! It's so delicate. | 0:25:59 | 0:26:01 | |
Oh, it's just catching that little edge, isn't it? | 0:26:01 | 0:26:04 | |
Brilliant. OK. | 0:26:04 | 0:26:05 | |
That is fan... I'm so pleased with that. | 0:26:07 | 0:26:09 | |
-Look at that! -I am actually quite pleased with that. | 0:26:09 | 0:26:11 | |
You've done a fantastic job with that. | 0:26:11 | 0:26:12 | |
-Pleased with that. -So how many do we need? | 0:26:12 | 0:26:15 | |
-About 200. -Right, let's get going. We've got a lot of work to do. | 0:26:15 | 0:26:20 | |
With even plates and bowls made of the sweet stuff, | 0:26:20 | 0:26:23 | |
the Tudor aristocracy were England's first sugar addicts, | 0:26:23 | 0:26:26 | |
with no idea of the damage it was wreaking. | 0:26:26 | 0:26:28 | |
Jelena Bekvalac is an expert in the study of skeletons and teeth | 0:26:31 | 0:26:35 | |
at the Museum of London. | 0:26:35 | 0:26:37 | |
This is the store where we keep about 20,000 individuals | 0:26:37 | 0:26:41 | |
that have been found from archaeological excavations | 0:26:41 | 0:26:44 | |
-within the London area. -How incredible. | 0:26:44 | 0:26:46 | |
What I'm particularly interested in is their teeth. | 0:26:46 | 0:26:49 | |
Yes, we've got two individuals here, which are really good contrasts. | 0:26:49 | 0:26:54 | |
This male was excavated from a site at Spitalfields market. | 0:26:54 | 0:26:57 | |
So this individual we know is from 1100 to 1200, | 0:26:57 | 0:27:01 | |
-but as you can see... -The teeth are immaculate. | 0:27:01 | 0:27:03 | |
The teeth are phenomenal. | 0:27:03 | 0:27:05 | |
Yeah. You'd be hard pushed to find teeth that good these days. | 0:27:05 | 0:27:09 | |
I find myself sort of licking my own silver crowns quite surreptitiously. | 0:27:09 | 0:27:14 | |
This male individual is from a later time period | 0:27:14 | 0:27:17 | |
and dated to about 1595 to 1666, | 0:27:17 | 0:27:21 | |
so several hundred years between them, | 0:27:21 | 0:27:23 | |
but you can see that their teeth are in not such good condition | 0:27:23 | 0:27:27 | |
at all as the medieval. | 0:27:27 | 0:27:29 | |
So if we turn this over and show you, you can see inside better. | 0:27:29 | 0:27:33 | |
You've got really nasty indications of decay, | 0:27:33 | 0:27:37 | |
so really bad dental health. | 0:27:37 | 0:27:39 | |
-Some missing teeth. -You can see here you've got the teeth that have | 0:27:39 | 0:27:42 | |
then been lost early, which probably again was caused from decay. | 0:27:42 | 0:27:45 | |
This molar here, you can see that really nasty hole. | 0:27:45 | 0:27:49 | |
Writing at the time, | 0:27:51 | 0:27:52 | |
Shakespeare's plays were full of references to stinking breath, | 0:27:52 | 0:27:56 | |
while European ambassadors reported that Queen Elizabeth I had lost | 0:27:56 | 0:28:00 | |
so many teeth that nobody could understand her when she spoke. | 0:28:00 | 0:28:05 | |
So can we tell from the state of his teeth how wealthy this individual | 0:28:05 | 0:28:09 | |
might have been, and if he would have had access to sugar? | 0:28:09 | 0:28:12 | |
Yes, from the context that we have from the archaeology, indicating | 0:28:12 | 0:28:15 | |
that they would've had the type of status that would have enabled them | 0:28:15 | 0:28:18 | |
to have then accessed sugar. | 0:28:18 | 0:28:21 | |
People are eating it and we see that decline in people's dental health. | 0:28:21 | 0:28:26 | |
The English loved sugar so much that they packed fruit dishes with it as well. | 0:28:31 | 0:28:35 | |
Marmalades and tarts were a staple of the sugar banquet. | 0:28:35 | 0:28:39 | |
But some fruits are more familiar than others to | 0:28:43 | 0:28:46 | |
our modern confectioners. | 0:28:46 | 0:28:47 | |
-Oh, my gosh! Look at those. -What on earth's that? | 0:28:49 | 0:28:51 | |
-Seen them before? -No. -No. -They are called medlars, | 0:28:51 | 0:28:55 | |
or the open arse fruit. | 0:28:55 | 0:28:57 | |
SHE LAUGHS | 0:28:57 | 0:29:00 | |
-What? -Any arse in particular? | 0:29:01 | 0:29:03 | |
-Dogs' arses. -OK. -That's what the French call them - cul de chien. | 0:29:03 | 0:29:06 | |
And they are kind of rotten. | 0:29:06 | 0:29:09 | |
When you read the recipe that you're about to do, | 0:29:09 | 0:29:11 | |
you'll see it calls for rotten medlars. | 0:29:11 | 0:29:14 | |
The term we tend to use now is bletted. | 0:29:14 | 0:29:16 | |
They've been picked from the tree and they've been | 0:29:16 | 0:29:18 | |
left somewhere cold until they soften, | 0:29:18 | 0:29:20 | |
so you can see they are very, very soft. | 0:29:20 | 0:29:22 | |
It's not the most attractive fruit you ever saw, is it? | 0:29:22 | 0:29:24 | |
Well, it isn't, | 0:29:24 | 0:29:26 | |
but the first time I tasted one I couldn't get over | 0:29:26 | 0:29:29 | |
how exquisite it was. | 0:29:29 | 0:29:31 | |
-Um... -ANNIE LAUGHS | 0:29:31 | 0:29:33 | |
-It smells interesting. -Quite appley. | 0:29:33 | 0:29:35 | |
It smells the way it looks. | 0:29:35 | 0:29:37 | |
Have a taste of it. | 0:29:37 | 0:29:39 | |
Do you mind if I don't? | 0:29:39 | 0:29:41 | |
It's nice. Like baked apple. | 0:29:45 | 0:29:47 | |
Once grown in orchards across England, | 0:29:51 | 0:29:54 | |
medlars have been popular since medieval times. | 0:29:54 | 0:29:58 | |
Andy is simmering them with sugar, cinnamon, ginger and egg yolks. | 0:29:58 | 0:30:03 | |
And Cynthia has made pastry tart cases. | 0:30:03 | 0:30:07 | |
But the temperature of the ancient oven will be very hard to judge, | 0:30:09 | 0:30:13 | |
so she will be baking blind in every sense. | 0:30:13 | 0:30:17 | |
Never quite done anything like this before, so... | 0:30:17 | 0:30:20 | |
fingers crossed. | 0:30:20 | 0:30:22 | |
It'll be fine. | 0:30:23 | 0:30:24 | |
All of the confectioners are beginning to recognise | 0:30:28 | 0:30:32 | |
the limitations of their primitive equipment. | 0:30:32 | 0:30:35 | |
It needs to boil a bit more, doesn't it? | 0:30:35 | 0:30:37 | |
-I know. These cauldrons, they just... -Let's pop the lid back on. | 0:30:37 | 0:30:39 | |
By the time they come to the boil they need more fuel. | 0:30:39 | 0:30:42 | |
-Yes. -It must have been a real challenge. | 0:30:42 | 0:30:44 | |
The whole thing is boiling hot, | 0:30:44 | 0:30:46 | |
handles are hot, but we need more fire. | 0:30:46 | 0:30:48 | |
We need a lot more heat to get it to boil. | 0:30:48 | 0:30:50 | |
It is wobbly. The pot is wobbly, | 0:30:50 | 0:30:52 | |
so you have to be very, very careful, otherwise there will be | 0:30:52 | 0:30:55 | |
a bit of scalding going on. | 0:30:55 | 0:30:56 | |
-A bit! -So we're having to be very, very careful not... | 0:30:56 | 0:31:00 | |
-I'm going to get a bit more and put it on the other side. -..not to shake it too much. | 0:31:00 | 0:31:03 | |
One out first. | 0:31:07 | 0:31:08 | |
Oh! | 0:31:10 | 0:31:11 | |
-Oops. -Doesn't that look like a cowpat? | 0:31:12 | 0:31:15 | |
-It's really bad. -CYNTHIA LAUGHS | 0:31:15 | 0:31:19 | |
It's like there's several layers of badness here. | 0:31:19 | 0:31:23 | |
The ovens are quite tricky to control, | 0:31:23 | 0:31:25 | |
so it's not cooked at a high enough temperature. | 0:31:25 | 0:31:28 | |
It must've been a nightmare to work with. | 0:31:28 | 0:31:30 | |
I don't know whether to laugh or cry. | 0:31:30 | 0:31:33 | |
It's... It's gone awfully wrong, really, so... | 0:31:33 | 0:31:36 | |
So you did it wrong? | 0:31:36 | 0:31:39 | |
That is one way to interpret it. | 0:31:39 | 0:31:41 | |
-Yes! -THEY LAUGH | 0:31:41 | 0:31:44 | |
If you work at any sort of event, | 0:31:44 | 0:31:45 | |
of which a banquet is certainly an event, | 0:31:45 | 0:31:47 | |
you would've thought ahead and there is always a plan B, isn't there? | 0:31:47 | 0:31:52 | |
Luckily, pastry cases often weren't eaten, | 0:31:52 | 0:31:55 | |
they were just vessels for serving the fruit mixture, | 0:31:55 | 0:31:58 | |
so Cynthia is improvising with a serving bowl. | 0:31:58 | 0:32:01 | |
Yeah, mine's disappeared. | 0:32:06 | 0:32:08 | |
-Lock and load. -Oh! -THEY LAUGH | 0:32:08 | 0:32:10 | |
After a long day of struggling with primitive equipment, | 0:32:10 | 0:32:13 | |
the confectioners are relaxing with yet another unfamiliar tool - | 0:32:13 | 0:32:17 | |
engraved wafer irons. | 0:32:17 | 0:32:19 | |
Wafers were a staple of the banqueting table | 0:32:20 | 0:32:22 | |
and were often used as the base | 0:32:22 | 0:32:24 | |
for other dishes or dipped in sugared wine. | 0:32:24 | 0:32:27 | |
-Would you like a knife, Andy? -It's still too soft. -OK. | 0:32:29 | 0:32:33 | |
He's just going in there, nicking my heat. | 0:32:33 | 0:32:35 | |
I need more heat. | 0:32:35 | 0:32:37 | |
-Oh! -That one's ready. | 0:32:37 | 0:32:39 | |
Oh, that's exciting. | 0:32:39 | 0:32:41 | |
I'm just going to give it a minute. | 0:32:41 | 0:32:43 | |
-Ooh! -It's very difficult to make Tudor wafers, isn't it? | 0:32:43 | 0:32:46 | |
Yeah, it's really hard to judge. | 0:32:46 | 0:32:48 | |
Oh, I can't see. Someone take that. | 0:32:48 | 0:32:50 | |
-Smoke in my eyes. -It's smoky. | 0:32:50 | 0:32:53 | |
Do you want to put yours on first? | 0:32:53 | 0:32:54 | |
There's absolutely no way of knowing what's happening inside | 0:32:54 | 0:32:57 | |
-those irons once you clamp them shut. -No, that's it. | 0:32:57 | 0:33:00 | |
-I've got a wafer! One wafer! -Yay! | 0:33:00 | 0:33:03 | |
Well done! | 0:33:03 | 0:33:04 | |
20 minutes for a wafer is not good yield on your time. | 0:33:04 | 0:33:07 | |
-But it's beautiful, isn't it? -It is. -Such detail. | 0:33:07 | 0:33:10 | |
-They are beautiful. -Well done, everybody, well done. | 0:33:10 | 0:33:13 | |
-Splendid. -Bravo! -Well done! | 0:33:13 | 0:33:15 | |
As the 17th century progressed, | 0:33:25 | 0:33:26 | |
England's trading links were spreading across the globe. | 0:33:26 | 0:33:29 | |
Portuguese imports poured into the country, | 0:33:29 | 0:33:32 | |
sugar from their cane fields in Brazil and luxurious citrus fruits. | 0:33:32 | 0:33:36 | |
Cynthia is making a recipe from Sir Hugh Plat's book | 0:33:40 | 0:33:44 | |
Delights For Ladies, | 0:33:44 | 0:33:45 | |
called To Preserve Oranges After The Portugal Fashion. | 0:33:45 | 0:33:50 | |
The closest thing I'd say it smells like is Orange Tango, | 0:33:50 | 0:33:55 | |
that's how intense. It smells artificial. | 0:33:55 | 0:33:58 | |
The softened oranges have been soaked overnight in syrup | 0:33:58 | 0:34:02 | |
and now are being mixed with sugar to make a marmalade. | 0:34:02 | 0:34:06 | |
There's something really satisfying about doing this. | 0:34:06 | 0:34:11 | |
It is just pulverising it with very little effort, actually. | 0:34:11 | 0:34:14 | |
Do you want to taste that? | 0:34:14 | 0:34:16 | |
-It tastes amazing. -Oh, let's have a little lick. | 0:34:16 | 0:34:19 | |
Oh, my goodness! | 0:34:19 | 0:34:20 | |
-That is gorgeous! -It's amazing. | 0:34:22 | 0:34:25 | |
Wow! I can't wait to try them when they're done. | 0:34:25 | 0:34:27 | |
-Yeah. -My goodness. | 0:34:27 | 0:34:29 | |
Everything they did seems so packed full of flavour. | 0:34:29 | 0:34:33 | |
-It's flavour and colour first, isn't it? -Absolutely. | 0:34:33 | 0:34:36 | |
Paul's back at the balancing pan on the next comfit shift. | 0:34:37 | 0:34:42 | |
I have probably been doing these now over an hour and there are still | 0:34:42 | 0:34:45 | |
50 more coats to put on here. | 0:34:45 | 0:34:48 | |
50 more. So it is quite tough, | 0:34:48 | 0:34:51 | |
but it is incredibly satisfying, | 0:34:51 | 0:34:54 | |
and the smell, it must've been the most exotic smell they had, | 0:34:54 | 0:34:57 | |
to have toasted coriander seeds coated in sugar, | 0:34:57 | 0:35:01 | |
and I've never had a toasted coriander seed | 0:35:01 | 0:35:04 | |
covered in sugar, so I can't wait to see what they taste like, | 0:35:04 | 0:35:07 | |
but another 50 coats to get a tiny little seed, | 0:35:07 | 0:35:10 | |
so I have got a lot of work to do. | 0:35:10 | 0:35:14 | |
A lot. | 0:35:14 | 0:35:15 | |
The Portuguese oranges are being stuffed with marmalade, | 0:35:20 | 0:35:23 | |
ready to be coated with boiling sugar syrup. | 0:35:23 | 0:35:26 | |
Are you all right? It is chilly out here. | 0:35:28 | 0:35:30 | |
Yeah, but I'm just feeling a little bit light-headed in there so... | 0:35:30 | 0:35:35 | |
-Standing over the burner? -Yes. Yes. | 0:35:35 | 0:35:38 | |
Yeah. Em... | 0:35:38 | 0:35:39 | |
Carbon monoxide poisoning not a massive issue, generally for cooks now... | 0:35:41 | 0:35:44 | |
Oh, so it's not just me, then? | 0:35:44 | 0:35:45 | |
No, no, no. In the past, when you look at the kind of ailments | 0:35:45 | 0:35:48 | |
that cooks suffered from, charcoal chafing stoves like this were one | 0:35:48 | 0:35:52 | |
of the banes of cooks' existences. | 0:35:52 | 0:35:54 | |
If you're stirring a hot stove all day, obviously inhaling it, | 0:35:54 | 0:35:57 | |
respiratory failure was a real problem, and cooks did die from it, | 0:35:57 | 0:36:00 | |
-often quite high-ranking cooks. -Really? | 0:36:00 | 0:36:02 | |
-Wow. -So I think you probably did well to come outside. | 0:36:02 | 0:36:05 | |
We don't necessarily want to replicate every aspect of the past. | 0:36:05 | 0:36:07 | |
No! | 0:36:07 | 0:36:09 | |
I think these need to come out, by the way. | 0:36:10 | 0:36:13 | |
Yeah, they're starting to just burn. | 0:36:13 | 0:36:16 | |
How are you finding the recipes for this, | 0:36:16 | 0:36:18 | |
and the fact that they're quite so vague? | 0:36:18 | 0:36:20 | |
I'm OK with this cos, you know, | 0:36:20 | 0:36:22 | |
growing up, you don't have set recipes. | 0:36:22 | 0:36:26 | |
My grandma will say, "Take a handful of something and put it in there." | 0:36:26 | 0:36:29 | |
My grandma's five-foot-one with tiny hands and I am five-eight with huge hands. | 0:36:29 | 0:36:33 | |
Whose handful of sugar is the handful of the person cooking. | 0:36:33 | 0:36:36 | |
So that's about as much instruction as you get, | 0:36:36 | 0:36:38 | |
so I'm comfortable, you know, you have a gut feel and you go with it. | 0:36:38 | 0:36:43 | |
Oh, my God! | 0:36:49 | 0:36:51 | |
Absolutely stunning. | 0:36:52 | 0:36:54 | |
-Do they taste all right? -They're really tart | 0:36:54 | 0:36:56 | |
and really sweet and really strong, | 0:36:56 | 0:37:00 | |
and they make me feel more alive than I think I've done all day! | 0:37:00 | 0:37:03 | |
Producing delights like these oranges relied on imports | 0:37:08 | 0:37:11 | |
of expensive foreign sugar. | 0:37:11 | 0:37:13 | |
With a seemingly insatiable demand among the upper classes, | 0:37:16 | 0:37:20 | |
the English urgently needed their own supply, | 0:37:20 | 0:37:23 | |
and they finally acquired the perfect source. | 0:37:23 | 0:37:26 | |
In 1625 they'd seized Barbados, | 0:37:29 | 0:37:33 | |
which would become the first Caribbean island where they | 0:37:33 | 0:37:36 | |
would set up sugar plantations. | 0:37:36 | 0:37:39 | |
When the fledgling colony started to grow sugar for export in the 1640s, | 0:37:39 | 0:37:43 | |
most of the labour was provided by white people. | 0:37:43 | 0:37:47 | |
These were mostly Irish who worked in the fields side by side with the | 0:37:47 | 0:37:50 | |
enslaved Africans who were starting to be imported here in their thousands. | 0:37:50 | 0:37:55 | |
Gradually, forced labour from Ireland was replaced by the slaves, | 0:37:55 | 0:37:59 | |
torn from their homeland against their will | 0:37:59 | 0:38:02 | |
to work in the sugar plantations. | 0:38:02 | 0:38:04 | |
This tortured history is particularly poignant to me | 0:38:08 | 0:38:12 | |
as somebody who is part Irish and part Nigerian. | 0:38:12 | 0:38:15 | |
Most of the slaves were taken from west Africa, | 0:38:15 | 0:38:18 | |
many of whom came from what is present-day Nigeria. | 0:38:18 | 0:38:22 | |
While the Irish undoubtedly suffered terribly, | 0:38:22 | 0:38:25 | |
it is those of African descent who still endure the legacy | 0:38:25 | 0:38:29 | |
of marginalisation, exclusion and racism that was bound up | 0:38:29 | 0:38:33 | |
in their enslavement. | 0:38:33 | 0:38:35 | |
By 1700, there would be over 50,000 slaves on Barbados. | 0:38:36 | 0:38:40 | |
The sugar plantation had become the ultimate business model, | 0:38:42 | 0:38:46 | |
feeding what would become known as the triangular trade. | 0:38:46 | 0:38:51 | |
European goods were exchanged for African slaves, | 0:38:51 | 0:38:54 | |
who were shipped to the West Indies to work the plantations, | 0:38:54 | 0:38:58 | |
and finally the resulting sugar was sent back to Europe. | 0:38:58 | 0:39:02 | |
Sugar would make England rich, | 0:39:02 | 0:39:04 | |
but at a horrific human cost. | 0:39:04 | 0:39:07 | |
Hugh Cumberbatch supervises a rum factory | 0:39:12 | 0:39:14 | |
on one of the oldest surviving sugar plantations in the Caribbean. | 0:39:14 | 0:39:19 | |
What we are doing here is how it was done from the time of slavery until now. | 0:39:19 | 0:39:24 | |
They're harvesting by machete. | 0:39:24 | 0:39:25 | |
People tied the canes in bundles and transported them either | 0:39:25 | 0:39:30 | |
to the factory or to the mill directly. | 0:39:30 | 0:39:33 | |
Got it? | 0:39:33 | 0:39:35 | |
Yeah, I'll have one more. | 0:39:35 | 0:39:36 | |
What would it have been like for a slave | 0:39:38 | 0:39:40 | |
who was harvesting the sugar cane crop? | 0:39:40 | 0:39:42 | |
Back then, the fields would have been covered, say, | 0:39:43 | 0:39:48 | |
with slaves using the machete. | 0:39:48 | 0:39:52 | |
There were a lot of activities in the field to get the canes reaped | 0:39:52 | 0:39:55 | |
as quickly as possible, and as much as possible. | 0:39:55 | 0:39:59 | |
You had to work, you were a property, per se. | 0:39:59 | 0:40:04 | |
The master, he bought you. | 0:40:04 | 0:40:07 | |
There was no other options. You were bought to work, you had to work, | 0:40:07 | 0:40:12 | |
despite whatever. | 0:40:12 | 0:40:14 | |
And literally with people being worked to death? | 0:40:14 | 0:40:16 | |
To death, yeah. Or in some cases, beaten to death. | 0:40:16 | 0:40:22 | |
Sugar imports into England soared, | 0:40:22 | 0:40:24 | |
and prices fell by 70% between 1640-1680, | 0:40:24 | 0:40:29 | |
as the free labour of the slaves fed the supply of the country. | 0:40:29 | 0:40:33 | |
The world of the English confectioner was completely transformed by the conquest | 0:40:40 | 0:40:44 | |
of the Caribbean islands. | 0:40:44 | 0:40:46 | |
The kind of brunt of that is borne by the Africans | 0:40:46 | 0:40:49 | |
that the British shipped in order to produce this sugar. | 0:40:49 | 0:40:52 | |
-Yes, yes. -Considering sugar is so prolific, | 0:40:52 | 0:40:56 | |
we're all addicted to it, we love it, it's there. | 0:40:56 | 0:40:58 | |
-Absolutely. -But it's a sweet story usually...for a sweet substance. | 0:40:58 | 0:41:02 | |
Not brutality. | 0:41:02 | 0:41:04 | |
-Exactly. -We have here one of the very earliest accounts | 0:41:04 | 0:41:07 | |
of plantation life. | 0:41:07 | 0:41:10 | |
"The planters buy them out of the ship. | 0:41:10 | 0:41:12 | |
"They choose them as they do horses in a market. | 0:41:12 | 0:41:15 | |
"£20 sterling is a price for the best man Negro | 0:41:15 | 0:41:18 | |
"and 25, 26 or £27 for a woman. | 0:41:18 | 0:41:22 | |
"The children are at easier rates." | 0:41:22 | 0:41:24 | |
One of the big problems that the slavers | 0:41:25 | 0:41:29 | |
ran into in the early days was that of suicide. | 0:41:29 | 0:41:32 | |
Lots of the people chose to kill themselves. | 0:41:32 | 0:41:35 | |
Of course, yeah, than face that fate, yeah. | 0:41:35 | 0:41:38 | |
Not only that fate for themselves, but also for their children as well. | 0:41:38 | 0:41:41 | |
-Absolutely. -So I have another little excerpt. | 0:41:41 | 0:41:44 | |
-Heartbreaking. -It is. | 0:41:44 | 0:41:45 | |
"They believe in resurrection and that they will go into their country | 0:41:45 | 0:41:50 | |
"again and have their youth renewed, | 0:41:50 | 0:41:52 | |
"and lodging this opinion in their hearts, | 0:41:52 | 0:41:55 | |
"they make it an ordinary practice, upon any great fright, | 0:41:55 | 0:41:58 | |
"or threatening from their masters, to hang themselves." | 0:41:58 | 0:42:02 | |
So obviously the plantation owners are deeply, deeply enraged, | 0:42:02 | 0:42:07 | |
so one of them devises a disincentive. | 0:42:07 | 0:42:12 | |
"And he calls one of their heads to be cut off | 0:42:12 | 0:42:15 | |
"and fed upon a pole a dozen foot high, | 0:42:15 | 0:42:17 | |
"and having done that, called all his Negroes to come forth | 0:42:17 | 0:42:21 | |
"and march about this head and bid them look on it. | 0:42:21 | 0:42:24 | |
"He then told them, how was it possible | 0:42:24 | 0:42:27 | |
"that body could go without head? | 0:42:27 | 0:42:30 | |
"Being convinced by this sad yet lively spectacle, | 0:42:30 | 0:42:33 | |
"they changed their opinions, | 0:42:33 | 0:42:35 | |
"and after that, no more hung themselves." | 0:42:35 | 0:42:39 | |
CYNTHIA SOBS | 0:42:40 | 0:42:42 | |
It's, it's... It's speechless. | 0:42:42 | 0:42:45 | |
Our jobs are using sugar every day. | 0:42:45 | 0:42:48 | |
The cruelty's just unbearable. It's... | 0:42:48 | 0:42:52 | |
It's not just then... | 0:42:53 | 0:42:55 | |
..what it has led to. | 0:42:57 | 0:42:59 | |
It... | 0:43:01 | 0:43:02 | |
It's the entire legacy of race. | 0:43:04 | 0:43:07 | |
-Yes. -Like, all of the racism, all of the stereotypes about black people, | 0:43:07 | 0:43:10 | |
all of that comes from this period. | 0:43:10 | 0:43:13 | |
And it's just, it's just money. | 0:43:13 | 0:43:17 | |
I mean, that simple act, as well, just says, you know, | 0:43:17 | 0:43:19 | |
how much money was at the heart of everything. | 0:43:19 | 0:43:24 | |
I think it was just greed. I don't think it was sugar itself. | 0:43:24 | 0:43:28 | |
It makes me feel very uncomfortable | 0:43:28 | 0:43:32 | |
about where my job has come from, in a way. | 0:43:32 | 0:43:35 | |
Plentiful sugar was not the only Caribbean crop that would | 0:43:39 | 0:43:42 | |
transform the world of the confectioner. | 0:43:42 | 0:43:45 | |
When English troops captured Jamaica from Spain in 1655, | 0:43:49 | 0:43:54 | |
they gained access to a precious commodity that had previously been | 0:43:54 | 0:43:57 | |
monopolised by the Spanish Empire... | 0:43:57 | 0:44:01 | |
cocoa beans. | 0:44:01 | 0:44:02 | |
SHE GASPS | 0:44:03 | 0:44:05 | |
-Uh-oh. -Look what she's got, look what she's got! -Treats. -Absolutely. | 0:44:05 | 0:44:09 | |
So you're going to be making a very, very early chocolate recipe. | 0:44:09 | 0:44:12 | |
It comes from a recipe book which was translated from the Spanish | 0:44:12 | 0:44:15 | |
by a man called Captain James Wadsworth. | 0:44:15 | 0:44:18 | |
He felt the need to tell his potential audience about the virtues | 0:44:18 | 0:44:23 | |
of chocolate. Because, like so much, once again, | 0:44:23 | 0:44:25 | |
it was linked very much to medicine. | 0:44:25 | 0:44:27 | |
He started by saying, | 0:44:27 | 0:44:29 | |
"Doctors, lay by your irksome books, and all you petty-fogging rooks, | 0:44:29 | 0:44:34 | |
"leave quacking, and enucleate the virtues of our chocolate." | 0:44:34 | 0:44:38 | |
So he's really bigging up the chocolate. | 0:44:38 | 0:44:40 | |
-Yeah. -"Nor need the women longer grieve who spend their oil, | 0:44:40 | 0:44:44 | |
"yet not conceive, | 0:44:44 | 0:44:45 | |
"for 'tis a help immediate if such but lick of chocolate." | 0:44:45 | 0:44:51 | |
Our confectioners have blocks of bitter, coarsely ground cocoa beans, | 0:44:51 | 0:44:54 | |
quite unlike the sweet, smooth chocolate of today. | 0:44:54 | 0:44:58 | |
-14 chillies. -Yeah? Chuck them in. | 0:44:58 | 0:45:00 | |
One, two... | 0:45:00 | 0:45:02 | |
Incredibly, it would take more than 200 years to invent solid | 0:45:02 | 0:45:06 | |
chocolate bars that were good enough to eat. | 0:45:06 | 0:45:08 | |
In the 17th century it was hot chocolate that was all the rage. | 0:45:08 | 0:45:13 | |
Then three cods of logwood. | 0:45:13 | 0:45:16 | |
Three cods? | 0:45:16 | 0:45:19 | |
The Spanish roots of this recipe are evident | 0:45:19 | 0:45:21 | |
from the inclusion of logwood, | 0:45:21 | 0:45:23 | |
which comes from the Campeche tree, | 0:45:23 | 0:45:25 | |
which is native to Mexico. | 0:45:25 | 0:45:27 | |
I don't know what a cod is. Is cod a length? | 0:45:27 | 0:45:29 | |
It doesn't have much flavour, but it does go incredibly... | 0:45:29 | 0:45:32 | |
It doesn't seem to be bringing out any colour. | 0:45:32 | 0:45:34 | |
Maybe it does when it's boiled. | 0:45:34 | 0:45:36 | |
Ready? Chocolate going in. | 0:45:37 | 0:45:38 | |
Stir continuous, so it doesn't burn on the bottom. | 0:45:38 | 0:45:41 | |
-Oh. -Spicy. Oh, my God. | 0:45:44 | 0:45:46 | |
It smells so intense. | 0:45:46 | 0:45:48 | |
It smells lovely. Can you remember the first time you either saw or tasted chocolate? | 0:45:48 | 0:45:51 | |
As a child, my dad would take me with him to London, | 0:45:51 | 0:45:55 | |
and he would make pilgrimage to a posh chocolate shop on Bond Street, | 0:45:55 | 0:45:58 | |
buying himself chocolates, | 0:45:58 | 0:46:01 | |
I hasten to add, not to buy me chocolates. | 0:46:01 | 0:46:03 | |
And I remember sort of going in and seeing all these glistening chocolates | 0:46:03 | 0:46:06 | |
in rows and rows and rows. | 0:46:06 | 0:46:07 | |
And the smell when you walked into that shop | 0:46:07 | 0:46:10 | |
was like something else. | 0:46:10 | 0:46:11 | |
A tad more. Oh, wow, look at the colour of it. | 0:46:15 | 0:46:18 | |
-Wow. -You can see the red, actually. | 0:46:18 | 0:46:20 | |
-Yeah, you can. -You can see that red now, yeah. | 0:46:20 | 0:46:22 | |
Definitely. | 0:46:22 | 0:46:23 | |
The confectioners are using a molinet, | 0:46:25 | 0:46:27 | |
a 17th-century chocolate whisk, to froth it up. | 0:46:27 | 0:46:30 | |
Oh, my goodness me. | 0:46:31 | 0:46:33 | |
-That is gorgeous. Look at the colour. -That looks so beautiful. | 0:46:33 | 0:46:37 | |
Oh, my God. That is amazing. | 0:46:37 | 0:46:40 | |
-Ooh, I just got a kick of chilli. -It's got a lovely kick. | 0:46:42 | 0:46:44 | |
-It's like hot ganache, isn't it? -Yeah. -Perfect. | 0:46:44 | 0:46:48 | |
In 1661, | 0:46:59 | 0:47:01 | |
Hannah Woolley became the first female cookery writer to | 0:47:01 | 0:47:04 | |
be published in England. | 0:47:04 | 0:47:05 | |
As the third day draws to a close, | 0:47:06 | 0:47:09 | |
Paul and Diana are following her recipe for marchpane, | 0:47:09 | 0:47:12 | |
the old name for baked marzipan. | 0:47:12 | 0:47:15 | |
"To make marchpane according to the best art... | 0:47:15 | 0:47:18 | |
"Two pound of Jordan almonds, | 0:47:18 | 0:47:19 | |
"blanche them and beat them very fine in a stone mortar." | 0:47:19 | 0:47:23 | |
We are skinning the almonds, so it comes off really, really easily, | 0:47:23 | 0:47:26 | |
but when they've been in there the optimum amount of time, | 0:47:26 | 0:47:29 | |
they will literally just slip out, | 0:47:29 | 0:47:31 | |
whizz across the kitchen when you're doing this. | 0:47:31 | 0:47:33 | |
I used to have to do this every year when my dad was making cakes. | 0:47:33 | 0:47:36 | |
He used to make Dundee cake | 0:47:36 | 0:47:39 | |
and I would have to skin the almonds for him. | 0:47:39 | 0:47:41 | |
That's satisfying. | 0:47:41 | 0:47:43 | |
There's a song in there somewhere. | 0:47:43 | 0:47:45 | |
THEY HUM GREENSLEEVES | 0:47:45 | 0:47:48 | |
We can rock. | 0:47:52 | 0:47:53 | |
I don't know the rest of the words! | 0:47:58 | 0:48:01 | |
Moulded marchpane could be used to construct castles, | 0:48:05 | 0:48:08 | |
chess boards and other playful pieces for the banqueting table. | 0:48:08 | 0:48:11 | |
It does taste beautiful with rose water, | 0:48:13 | 0:48:15 | |
which is not used as much now in marzipan. | 0:48:15 | 0:48:17 | |
It just tastes of almond. | 0:48:17 | 0:48:18 | |
But there's a small technical problem with one of the moulds. | 0:48:19 | 0:48:24 | |
I'm freeing up her nipples, because they got... | 0:48:24 | 0:48:27 | |
..clogged with icing sugar, which is no good at all. | 0:48:28 | 0:48:33 | |
I'm going to roll it and hope that we can get that off in one piece. | 0:48:33 | 0:48:38 | |
-There she is. -Oh, wow! | 0:48:40 | 0:48:42 | |
Wow. This is the first time I've ever had to work on boobs | 0:48:42 | 0:48:46 | |
-this close up in my life. -DIANA LAUGHS | 0:48:46 | 0:48:49 | |
And they are epic, aren't they? | 0:48:49 | 0:48:52 | |
Well, yeah. See what you're missing out on? | 0:48:52 | 0:48:55 | |
Cheeky! | 0:48:55 | 0:48:56 | |
Beautiful. | 0:48:56 | 0:48:57 | |
-Great. -Ready for the oven. | 0:48:57 | 0:48:59 | |
-And finally, Lady Dorothy, that's what I'm calling her. -Lady Dorothy! | 0:49:03 | 0:49:07 | |
There we go. Lady Dorothy going in. | 0:49:07 | 0:49:10 | |
It's like someone's had a chew on the end of that... | 0:49:13 | 0:49:15 | |
Confectioners used dyes sourced from around the globe to decorate | 0:49:15 | 0:49:19 | |
their sugar plate and marchpane. | 0:49:19 | 0:49:21 | |
While blue azurite, a rather toxic pigment, was shipped from Germany, | 0:49:22 | 0:49:26 | |
saffron was grown in Essex. | 0:49:26 | 0:49:29 | |
There's saffron. | 0:49:29 | 0:49:30 | |
That will make a beautiful yellow. | 0:49:30 | 0:49:32 | |
Yeah, but I think that's used to grind that. | 0:49:32 | 0:49:35 | |
No, I think this is going to make a colour, I think. | 0:49:35 | 0:49:38 | |
-You think? -I'm going to grind this down... | 0:49:38 | 0:49:40 | |
-OK. -..and add some egg white to it and see if it will... | 0:49:40 | 0:49:42 | |
-Let's see what happens. -Yeah, but I've no idea what it is. | 0:49:42 | 0:49:45 | |
Oh, look, look, the colour that's coming out. | 0:49:48 | 0:49:50 | |
-Oh, look! -Is it cochineal? I wonder if it's cochineal. | 0:49:50 | 0:49:53 | |
It is, it is, it is. | 0:49:53 | 0:49:54 | |
-So it's beetles. -It's dried beetles... | 0:49:55 | 0:49:58 | |
-CYNTHIA GASPS -It is! | 0:49:58 | 0:50:00 | |
The vivid red of the cochineal beetles, | 0:50:02 | 0:50:04 | |
harvested from prickly pear cacti, | 0:50:04 | 0:50:07 | |
came to English kitchens from Peru and Mexico. | 0:50:07 | 0:50:09 | |
I bet it's really natural and lovely. | 0:50:12 | 0:50:14 | |
-It tastes delicious. -Yeah? | 0:50:14 | 0:50:15 | |
Just like eating a really nice green salad. | 0:50:15 | 0:50:18 | |
-It's like a wheatgrass shot. -Yeah, exactly. | 0:50:18 | 0:50:21 | |
Here comes the Madonna. | 0:50:23 | 0:50:24 | |
Lady Dorothy - how is she looking? | 0:50:24 | 0:50:27 | |
-Oh, she's beautiful. -Beautiful. | 0:50:27 | 0:50:28 | |
Great. Let's turn her the right way. | 0:50:29 | 0:50:31 | |
She was ripe. | 0:50:31 | 0:50:33 | |
I'm really pleased that the oven has dried the embellishments, | 0:50:33 | 0:50:36 | |
the relief, so that we can get detail and decoration onto it. | 0:50:36 | 0:50:40 | |
-High-five. -I'm pleased. | 0:50:41 | 0:50:42 | |
A Tudor high-five, that was! | 0:50:42 | 0:50:44 | |
DIANA CHUCKLES | 0:50:44 | 0:50:47 | |
It's the day of the banquet, | 0:50:56 | 0:50:59 | |
and the moment of truth for their sugar plate, | 0:50:59 | 0:51:01 | |
which has been drying for two days. | 0:51:01 | 0:51:03 | |
Fingers crossed. | 0:51:05 | 0:51:06 | |
Oh, my God... Oh, my goodness, look at that! That is brilliant. | 0:51:06 | 0:51:10 | |
-That's held perfectly. -You just earned your keep for the day. | 0:51:10 | 0:51:13 | |
Brilliant. I only had an hour's sleep worrying about that. | 0:51:13 | 0:51:16 | |
Seriously. Wow, we've got to paint it, though. | 0:51:16 | 0:51:19 | |
Feathers were a perfect tool for the detailed artistic pieces. | 0:51:20 | 0:51:25 | |
Totally outside my normal remit. | 0:51:25 | 0:51:27 | |
I don't normally get involved in such an intricate level, | 0:51:27 | 0:51:30 | |
but I have to say, it's very satisfying. | 0:51:30 | 0:51:33 | |
We want the elephant to look like the most exotic, | 0:51:33 | 0:51:36 | |
amazing creature that's ever come out of some strange land | 0:51:36 | 0:51:40 | |
-that nobody's ever seen. -This needs a gold trunk. | 0:51:40 | 0:51:42 | |
Yeah, a gold trunk. | 0:51:42 | 0:51:44 | |
-That's nice. -Lovely. | 0:51:47 | 0:51:48 | |
The centrepiece is the sugar plate banqueting house, and Cynthia, | 0:51:50 | 0:51:55 | |
who's used to working with moulded sugar for her wedding cakes, | 0:51:55 | 0:51:58 | |
is taking charge. | 0:51:58 | 0:52:00 | |
Everything crossed this works... | 0:52:00 | 0:52:02 | |
Do you know, as soon as Cynthia put the back of the house on... | 0:52:02 | 0:52:05 | |
..my heart started beating faster. It looks like a house. | 0:52:06 | 0:52:09 | |
Phew. I'm excited like it's Christmas Eve, honestly. | 0:52:09 | 0:52:13 | |
All my thoughts are going towards the roof at the moment, | 0:52:13 | 0:52:15 | |
I'm not worried about the house itself. | 0:52:15 | 0:52:17 | |
I'm just thinking about the roof. | 0:52:17 | 0:52:19 | |
Does this fit? It looks like it's going to fit, | 0:52:19 | 0:52:21 | |
-but there is a crack in the back, so we have to be very... -Oops, sorry, Andy. | 0:52:21 | 0:52:25 | |
Confectioners would have used props to hold up their centrepieces, | 0:52:25 | 0:52:28 | |
which were built for show, not always to be eaten. | 0:52:28 | 0:52:31 | |
If this breaks completely, then we can't use it. | 0:52:31 | 0:52:35 | |
So the crack is just here. | 0:52:35 | 0:52:38 | |
Cynthia's just mortaring it up with more icing. | 0:52:38 | 0:52:42 | |
Yeah, at this point it would move so slowly, | 0:52:42 | 0:52:45 | |
that even though it might look fine, | 0:52:45 | 0:52:47 | |
it's just moving like literally millimetres, | 0:52:47 | 0:52:49 | |
and then if it's going to go, it'll all go suddenly. | 0:52:49 | 0:52:51 | |
-And crash on the board. -And we don't want that to happen. | 0:52:51 | 0:52:55 | |
-No pressure, Cynth! -No pressure. | 0:52:55 | 0:52:56 | |
CYNTHIA CHUCKLES | 0:52:56 | 0:52:58 | |
We do not panic. | 0:52:58 | 0:53:01 | |
We've definitely got some movement here. | 0:53:01 | 0:53:03 | |
-Yeah. -I don't know which one it is. -It's both of them. | 0:53:03 | 0:53:06 | |
-Both of them need holding up. -Gravity's annoying, isn't it? | 0:53:06 | 0:53:09 | |
SHE GASPS | 0:53:09 | 0:53:11 | |
It's cracking, Cynth, it's getting worse, look. | 0:53:11 | 0:53:13 | |
And this one's moved as well. | 0:53:13 | 0:53:15 | |
You know what? Let's take these roofs off. | 0:53:15 | 0:53:17 | |
-These are going to go. -Are you sure? | 0:53:17 | 0:53:18 | |
So, guys, this now has two pieces. | 0:53:18 | 0:53:21 | |
Guys, this roof's cracked in half. | 0:53:21 | 0:53:23 | |
I think we should take that roof off. | 0:53:23 | 0:53:25 | |
Fearful of collapsing the entire structure, | 0:53:25 | 0:53:27 | |
the confectioners have abandoned the roof for the time being. | 0:53:27 | 0:53:30 | |
I don't think we've achieved enough, | 0:53:31 | 0:53:33 | |
and not always getting the result that we anticipated. | 0:53:33 | 0:53:37 | |
I'm just worried it's going to look really rubbish. | 0:53:37 | 0:53:40 | |
After three days of panning, | 0:53:42 | 0:53:43 | |
Paul is adding cochineal to the sugar syrup in a last-ditch attempt | 0:53:43 | 0:53:47 | |
to improve his comfits. | 0:53:47 | 0:53:50 | |
I am a bit tense, because in the bottom a lot of the seeds | 0:53:50 | 0:53:53 | |
are popping out of the sugar, | 0:53:53 | 0:53:56 | |
and I'm really wanting a smooth, even ball. | 0:53:56 | 0:53:59 | |
It must take hours and hours, even days and days and days, of practice, | 0:54:00 | 0:54:04 | |
to get an even coating. | 0:54:04 | 0:54:06 | |
I wanted them to be better, a lot better. | 0:54:06 | 0:54:10 | |
The confectioners have spent four days as highly skilled servants | 0:54:19 | 0:54:23 | |
to the aristocracy, but will their final dishes be up to scratch? | 0:54:23 | 0:54:28 | |
-Oh, my goodness. -Wow. -Look. | 0:54:29 | 0:54:32 | |
It's extraordinary. | 0:54:32 | 0:54:33 | |
The peacock is fabulous. | 0:54:33 | 0:54:35 | |
-Your comfits, as well. -Sugar flowers. | 0:54:35 | 0:54:37 | |
-My favourites are these ones. -They don't taste very English to me. | 0:54:37 | 0:54:39 | |
-No. -They taste like a really, like, highly spiced and flavoured, | 0:54:39 | 0:54:42 | |
like they'd be from India or something. | 0:54:42 | 0:54:44 | |
-Yeah, very exotic, aren't they? -Yeah. | 0:54:44 | 0:54:45 | |
-Do you know what? I would honestly consider to start making those and experimenting with them. -Yeah. | 0:54:45 | 0:54:49 | |
I don't know why I got attached to them, | 0:54:49 | 0:54:51 | |
I don't know if it was just the process, the colour, the taste, the smell, | 0:54:51 | 0:54:54 | |
but I think we're all attached to something. | 0:54:54 | 0:54:57 | |
This is called eryngo, and it's a root out of the garden. | 0:54:57 | 0:55:00 | |
-OK. -It's supposed to have Viagra-like properties. | 0:55:00 | 0:55:04 | |
-I'm quite into that. -Really? -Mm. | 0:55:04 | 0:55:06 | |
-Wow. -Oh, hang on. | 0:55:06 | 0:55:08 | |
The more I chew... | 0:55:08 | 0:55:11 | |
It gives me like a real sense, though, | 0:55:11 | 0:55:13 | |
-that they possibly had a very, very different palate to ours. -Sense of taste. | 0:55:13 | 0:55:18 | |
Now, we do have one critical element lacking. | 0:55:18 | 0:55:21 | |
-The roof. -Yeah. | 0:55:21 | 0:55:22 | |
I don't think without a roof you can pass this off, | 0:55:22 | 0:55:25 | |
so you've got to put something on top. | 0:55:25 | 0:55:27 | |
Just know that it will only fall once. | 0:55:30 | 0:55:32 | |
Right. | 0:55:32 | 0:55:33 | |
No, it's not moving, it's not moving. | 0:55:33 | 0:55:36 | |
Please, do not touch it. | 0:55:36 | 0:55:38 | |
I need to get it together. | 0:55:38 | 0:55:39 | |
Aah! | 0:55:42 | 0:55:43 | |
I think we're all right. | 0:55:45 | 0:55:46 | |
-Can they come in now, please? -Really super quickly! | 0:55:48 | 0:55:51 | |
I'll go and get the guests. | 0:55:51 | 0:55:52 | |
Over the course of the 16th and 17th centuries, | 0:55:56 | 0:55:59 | |
ever-expanding trade routes brought new and precious ingredients into | 0:55:59 | 0:56:03 | |
confectioners' kitchens, | 0:56:03 | 0:56:05 | |
as they became indispensable servants, creating ever more ambitious dishes. | 0:56:05 | 0:56:10 | |
Wow, that's incredible. | 0:56:10 | 0:56:12 | |
Mm. | 0:56:13 | 0:56:15 | |
Wonderful. That's just like eating pure sugar. | 0:56:17 | 0:56:20 | |
Intense orange. | 0:56:20 | 0:56:21 | |
The explosion of sugar production, | 0:56:23 | 0:56:25 | |
enabled by the slave plantations of the Caribbean, | 0:56:25 | 0:56:28 | |
fed the national addiction, | 0:56:28 | 0:56:30 | |
fuelled the country's growing economy | 0:56:30 | 0:56:32 | |
and changed the diet of the English for ever. | 0:56:32 | 0:56:36 | |
-Confectioners, you smashed it. They absolutely love it. -Yes! | 0:56:45 | 0:56:48 | |
Fantastic! | 0:56:50 | 0:56:51 | |
-Excellent. -Brilliant. | 0:56:51 | 0:56:53 | |
And the roof is still on the building! | 0:56:53 | 0:56:55 | |
-THEY CHEER -Yes! -Brilliant, we did it. | 0:56:55 | 0:56:58 | |
Really lovely. It's super sexy. Everyone was eating with their fingers. Honestly... | 0:56:58 | 0:57:03 | |
-Fantastic. -Just a job well done. | 0:57:03 | 0:57:04 | |
Probably the most exciting thing I've done in a very, very long time. | 0:57:04 | 0:57:08 | |
They were a lot more adventurous than I think we are these days. | 0:57:08 | 0:57:12 | |
-Intense flavours. -I was going to say... | 0:57:12 | 0:57:14 | |
Really, really strong flavours. | 0:57:14 | 0:57:15 | |
Intense flavours, yeah. Those oranges and the rose water, | 0:57:15 | 0:57:18 | |
everything dialled up maximum, wasn't it? | 0:57:18 | 0:57:20 | |
And the biggest thing I'm surprised about is the colour. | 0:57:20 | 0:57:22 | |
Look, we're not exactly flamboyant, but all the food is flamboyant. | 0:57:22 | 0:57:26 | |
Absolutely. | 0:57:26 | 0:57:28 | |
It's been wonderful watching you approach everything with such | 0:57:28 | 0:57:31 | |
enthusiasm, but what have you actually loved about the period? | 0:57:31 | 0:57:35 | |
There comes across in the recipes a respect for the confectioners' own intuitions. | 0:57:35 | 0:57:39 | |
I definitely found it very soothing. | 0:57:39 | 0:57:42 | |
It takes you away from the normal day-to-day worries and anxieties. | 0:57:42 | 0:57:46 | |
With all the labour-saving technology and equipment that we have today, | 0:57:46 | 0:57:49 | |
actually we're more stressed | 0:57:49 | 0:57:51 | |
and we're under more time pressure today than | 0:57:51 | 0:57:53 | |
we were doing it by hand. | 0:57:53 | 0:57:55 | |
So I think Tudor confectionery rocks! | 0:57:55 | 0:57:57 | |
It rocks. | 0:57:57 | 0:57:58 | |
With sugar becoming rapidly more available, | 0:58:00 | 0:58:02 | |
its association with extreme wealth and privilege faded, | 0:58:02 | 0:58:05 | |
and sugar banquets became a thing of the past. | 0:58:05 | 0:58:08 | |
Next time, our team will run their own high-end | 0:58:10 | 0:58:13 | |
Georgian confectionery shop in Bath, | 0:58:13 | 0:58:16 | |
as they move out of the homes of the elite and onto the high streets. | 0:58:16 | 0:58:20 |