The Cook's Decameron

A novel with two hundred Italian recipes inside it: ten friends dine together for ten days, argue about food and cooks and country, and each day's talk ends in the day's menu.

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Fowl, Duck, Game, Hare: Carrots

No. 167. Carote al sughillo (Carrots) Ingredients: Carrots, stock, salt, butter, sausage, pepper.

Boil some young carrots in stock, slice them up, and put them in a stewpan with a sausage cut up; cook for quarter of an hour on a slow fire, then stir up the fire, and when the carrots and sausage are a good colour add a good Espagnole sauce (No. 1), and serve.

No. 168. Carote e piselli alla panna (Carrots and Peas) Ingredients: Young carrots, peas, cream, salt.

Half cook equal quantities of peas and young carrots (the carrots should be cut in dice, and will require a little longer cooking), then put them together in a stewpan with three or four tablespoonsful of cream, and cook till quite tender. Serve hot.

No. 169. Verze alla Certosina (Cabbage) Ingredients:

Cabbage, butter, salt, leeks or shallots, sardines, cheese. be Any vegetable may cooked in the following simple manner: - Boil them well, then slightly fry a little bit of leek or shallot and a sardine in butter; drain the vegetables, put them in the butter, and cook gently so that they may absorb all the flavour, and at the last add a dust of grated cheese and a tiny pinch of spice.

For the Modern Kitchen

Three vegetable dishes given in the Italian manner, with quantities left entirely to the cook. Read them as ratios and methods rather than as fixed formulas.

A Little History

The Cook's Decameron (1901) was assembled by Mrs W. G. Waters as a frame-tale of ten diners exchanging Italian recipes, and these three entries show the book's habit of recording method without measurement, the way a cook dictates to another cook rather than to a beginner. Verze alla Certosina carries the name of the Carthusians, whose rule excludes meat: dishes labelled alla certosina in Italian cookery are traditionally said to take their name from monastic kitchens that reached for fish, in this case a sardine, where others would have used bacon or ham for savour. The cream-and-butter finishes and the Espagnole in No. 167 mark the book as a product of the period when French sauce work had become the assumed grammar of any respectable kitchen, even one presenting itself as resolutely Italian.

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