I have often furnished recipes for cook-books. Here are some designs for pies and things, which I recently prepared for a friend's projected cook-book, but as I forgot to furnish diagrams and perspectives, they had to be left out, of course.
RECIPE FOR AN ASH-CAKE
Take a lot of water and add to it a lot of coarse Indian-meal and about a quarter of a lot of salt. Mix well together, knead into the form of a "pone," and let the pone stand awhile--not on its edge, but the other way. Rake away a place among the embers, lay it there, and cover it an inch deep with hot ashes. When it is done, remove it; blow off all the ashes but one layer; butter that one and eat.
N.B.--No household should ever be without this talisman. It has been noticed that tramps never return for another ash-cake.
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RECIPE FOR NEW ENGLISH PIE
To make this excellent breakfast dish, proceed as follows: Take a sufficiency of water and a sufficiency of flour, and construct a bullet-proof dough. Work this into the form of a disk, with the edges turned up some three-fourths of an inch. Toughen and kiln-dry in a couple days in a mild but unvarying temperature. Construct a cover for this redoubt in the same way and of the same material. Fill with stewed dried apples; aggravate with cloves, lemon-peel, and slabs of citron; add two portions of New Orleans sugars, then solder on the lid and set in a safe place till it petrifies. Serve cold at breakfast and invite your enemy.
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RECIPE FOR GERMAN COFFEE
Take a barrel of water and bring it to a boil; rub a chicory berry against a coffee berry, then convey the former into the water. Continue the boiling and evaporation until the intensity of the flavor and aroma of the coffee and chicory has been diminished to a proper degree; then set aside to cool. Now unharness the remains of a once cow from the plow, insert them in a hydraulic press, and when you shall have acquired a teaspoon of that pale-blue juice which a German superstition regards as milk, modify the malignity of its strength in a bucket of tepid water and ring up the breakfast. Mix the beverage in a cold cup, partake with moderation, and keep a wet rag around your head to guard against over-excitement.
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TO CARVE FOWLS IN THE GERMAN FASHION
Use a club, and avoid the joints.
CHAPTER L [Titian Bad and Titian Good]
I wonder why some things are? For instance, Art is allowed as much indecent license today as in earlier times-- but the privileges of Literature in this respect have been sharply curtailed within the past eighty or ninety years. Fielding and Smollett could portray the beastliness of their day in the beastliest language; we have plenty of foul subjects to deal with in our day, but we are not allowed to approach them very near, even with nice and guarded forms of speech. But not so with Art. The brush may still deal freely with any subject, however revolting or indelicate. It makes a body ooze sarcasm at every pore, to go about Rome and Florence and see what this last generation has been doing with the statues. These works, which had stood in innocent nakedness for ages, are all fig-leaved now. Yes, every one of them. Nobody noticed their nakedness before, perhaps; nobody can help noticing it now, the fig-leaf makes it so conspicuous. But the comical thing about it all, is, that the fig-leaf is confined to cold and pallid marble, which would be still cold and unsuggestive without this sham and ostentatious symbol of modesty, whereas warm-blood paintings which do really need it have in no case been furnished with it.
At the door of the Uffizzi, in Florence, one is confronted by statues of a man and a woman, noseless, battered, black with accumulated grime--they hardly suggest human beings-- yet these ridiculous creatures have been thoughtfully and conscientiously fig-leaved by this fastidious generation. You enter, and proceed to that most-visited little gallery that exists in the world--the Tribune--and there, against the wall, without obstructing rag or leaf, you may look your fill upon the foulest, the vilest, the obscenest picture the world possesses--Titian's Venus. It isn't that she is naked and stretched out on a bed--no, it is the attitude of one of her arms and hand.