Posts filed under ‘Garden History’
With Halloween just around the corner and Thanksgiving on our minds already, we are celebrating the season of the pumpkin here at Smithsonian Gardens.
Will you carve a pumpkin for Halloween? Jack-o’-lanterns as we know them today are rooted in European traditions. In Ireland and Scotland, people used turnips and potatoes to make scary faces that would frighten evil spirits. When immigrants from these countries came to America they began using pumpkins, a native fruit.
The pumpkin pie as we know it today evolved from early recipes that arrived in the America from England and France. Pumpkins (called “pompons” in French) were stuffed with sweet fillings or were served in a pie crust along with apples. By the mid-nineteenth century the custard-style pumpkin pie (with a bottom crust and no top crust) was a familiar “Yankee” delicacy. This excerpt from the “The Pumpkin” by John Greenleaf Whittier (1850) pretty much sums up how we feel about this gorgeous gourd:
Then thanks for thy present!— none sweeter or better
E’er smoked from an oven or circled a platter!
Fairer hands never wrought at a pastry more fine,
Brighter eyes never watched o’er its baking than thine!
And the prayer, which my mouth is too full to express,
Swells my heart that thy shadow may never be less,
That the days of thy lot may be lengthened below,
And the fame of thy worth like a pumpkin-vine grow,
And thy life be as sweet, and its last sunset sky
Golden-tinted and fair as thy own pumpkin-pie!
Over the years we have grown a variety of heirloom pumpkins in the Victory Garden at the National Museum of American History. This year keep an eye out for the ‘Long Island Cheese,’ pumpkin. Canned pumpkin has been a popular and convenient alternative to fresh pumpkin since the 1920s. For those who have the time to make a pie from scratch this season, Rebecca Sullivan, Fellow in Food History at the National Museum of American History, has a delicious recipe to share with you:
Recipe for Pumpkin Pie
2 cups pumpkin puree (steam 1 ¼ lbs. peeled pumpkin until soft, then puree)
1 ½ cups thickened cream
1 cup brown sugar
1 ½ teaspoons ground cinnamon
1 teaspoon ground ginger
½ teaspoon nutmeg
¼ teaspoon ground cloves
Zest of 1 orange
2 cups plus 2 tablespoons plain flour
1 cup confectioner’s sugar, sifted
¼ lb. unsalted butter (1 stick), chilled, cubed
-Pecan, gingersnap layer and nut topping:
¼ cup pecans, toasted and ground
¼ cup crushed gingersnap cookies
½ cup almonds or in-season nuts
2 tablespoons maple syrup
1 cup light cream
2 tablespoons pure maple syrup
- Starting with the pastry, place the flour and confectioner’s sugar in a food processor and pulse for a few seconds. Add butter and process until the mixture resembles fine breadcrumbs. Add the egg and process until the mixture forms a ball. Cover in plastic wrap and refrigerate for 30 minutes.
- Preheat oven to 350°F. Once chilled, roll pastry out on a lightly floured workbench and use to line a lightly greased 9-inch pie pan. Place back in the fridge for 30 minutes to chill further. Next make the pecan gingersnap layer by toasting the pecans in the oven for 8 minutes or until lightly browned. Cool and then place the pecans, along with the gingersnap cookies, in a food processor and process until finely ground. Press this mixture evenly onto the bottom and up the sides of the unbaked pie crust. Cover and return the pastry to the refrigerator while you make the pumpkin filling.
- Line the pan with baking paper, place the almonds and a drizzle of maple syrup on top of the baking paper and blind-bake for 10 minutes. Take out of the oven and set the nuts aside for later. Increase oven temperature to 420°F. Place pumpkin puree, eggs, cream, sugar and spices in a processor and whiz until smooth. Pour into the tart shell, then bake for 10 minutes. Reduce oven temperature to 300°F and bake for a further 30 minutes. Take out of the oven and sprinkle the nuts on top of the pie, then return to the oven for a remaining 10 minutes. The pie should be just firm when cooked.
- Cool, and then make the maple cream by pouring the cream into a small bowl and mixing with a hand mixer. As the cream starts to thicken, slowly drizzle in the maple syrup and mix until the consistency you desire. Serve the pie in slices with the whipped maple cream.
This week we are highlighting a tree that is not growing in our Victory Garden—yet. Every Thursday in September we are exploring one of four key maritime regions with connections to the War of 1812 at FOOD in the garden at the National Museum of American History: the Long Island Sound, the Chesapeake Bay, the Great Lakes, and New Orleans. This week’s theme transports us to the Great Lakes region for a discussion of the ever-changing agricultural heritage of the “Eden of the West.” Join us in the Victory Garden for delicious food, cider-making demonstrations from Distillery Lane Ciderworks, rhubarb and apples pies from Whisked! Bakery, and more. Tickets available here.
What is more American than apple pie? At one point in American history the answer might have been apple cider. Cultivated apples (Malus domestica) originated from the wild species Malus sieversii in Asia and were brought to North America by European colonists in the seventeenth century. Much of the climate of North America was found to be amenable to growing apples. Through the process of grafting, regional varieties proliferated to create a distinctly American pomology. Both George Washington and Thomas Jefferson grew apples on their farm estates (here at Smithsonian Gardens we like to think of them as the founding gardeners) and produced cider. Today cider usually refers to the sweet, non-alcoholic variety. The cider (or “cyder”) of the 18th and 19th centuries was a fermented, alcoholic beverage and much different than the commercially-available hard cider today. Dry, cloudy, and lightly effervescent, cider was brewed in relatively small batches and tasted distinctly of the maker’s favorite blend of local apples. Cider apples are more bitter than apples used for baking and eating fresh, and there were hundreds of choices. Jefferson preferred ‘Golden Wilding’ and ‘Red Hughes’ for his cider. According to author Frank Browning in his book Apples, casks of cider were even used as an informal currency, an acceptable payment for goods and services.
Every apple-growing region in the United States was once known for their locally-developed cultivars. Lumpy or squat or pink on the inside, apples can express a certain terroir particular to the people and places who gave them root. Apples with names like ‘Chenango Strawberry’ and ‘Black Oxford’ are stories begging to be told. In the twentieth century Prohibition left cider production at a standstill and a more robust national transportation system put apples on the table no matter the season. Now, at most grocery stores only about a dozen varieties are available, cultivated over the years for their hardiness and sweeter flavor. The United States is now the second-leading producer of apples in the world, after China. ‘Red Delicious’ reigns as local apples have faded away, some lost but others making a comeback as interest in historic American food and foodways grows.
Once “new” to the Great Lakes region, apples are now deeply ingrained in the cultural and culinary heritage of New York, Pennsylvania, Ohio, Indiana, and Michigan. At FOOD in the Garden this week our panel will discuss apples and other exotic (and sometimes invasive) species introduced to the Great Lakes region as settlers moved westward in search of fertile farmland. Tim Rose of Distillery Lane Ciderworks will be joined by Jodi Branton of the National Museum of American Indian and Rick Finch, interim director of the Glenn Miller Birth Place Museum for the discussion.
We hope to see you tomorrow evening in the Victory Garden as we raise a glass of cider to food history!
-Kate Fox, Smithsonian Gardens educator
This is the second in a series of blog posts highlighting heirloom plants growing in our Victory Garden at the National Museum of American History with ties to the FOOD in the Garden theme of the week. Every Thursday in September we are exploring one of four key maritime regions with connections to the War of 1812: the Long Island Sound, the Chesapeake Bay, the Great Lakes, and New Orleans. We hope to see you tomorrow evening in the Victory Garden as we enjoy garden-fresh food, cocktails and hard cider from New Columbia Distillers and Distillery Lane Ciderworks, and learn more about two hundred years of Chesapeake Bay foodways. This week’s event is sold out, but you can follow @amhistorymuseum on Twitter for live updates. Tickets for the programs on September 18th and 24th can be purchased here.
This spicy heirloom pepper has deep roots in African-American history, the fishing industry, and the food traditions of the Chesapeake Bay region. The fish pepper is both a decorative and culinary treasure; beautiful variegated foliage provides an attention-grabbing backdrop for the striated peppers that range from white to green to deep oranges and reds. It’s a workhorse plant that’s pretty enough to show off in the front yard as an ornamental and produces peppers with a mellow heat all summer long.
The origins of the fish pepper (Capsicum annum, the same species as the Tabasco pepper) are mysterious, but it likely arrived in North America by way of the Caribbean. A possible genetic mutation caused the plant to produce the prized spicy, light-colored peppers. African-American slaves and freedmen in Antebellum Maryland used the pepper to add an unanticipated heat to fish, shellfish—and even terrapin—stew. It was a prized “secret” ingredient in white sauces. The creamy, green young peppers added undetected heat to a white sauce without muddying the color. According to the authors of Chasing Chiles: Hot Spots along the Pepper Trail, the decline of the fish pepper (and its brush with extinction) is closely tied to the decline of the fishing industry in the Chesapeake Bay, though this heirloom is now is making a culinary comeback in the Baltimore area and is available from some seed companies.
Here are two past blog entries from Smithsonian Gardens and the National Museum of American History on the history of fish pepper. Enjoy!
-Kate Fox, Smithsonian Gardens educator
This month we are collaborating with the National Museum of American History to present the second annual FOOD in the Garden evening series. Every Thursday in September we will explore one of four key maritime regions with connections to the War of 1812: the Long Island Sound, the Chesapeake Bay, the Great Lakes, and New Orleans. Join us tomorrow for a relaxed evening in the Victory Garden & enjoy fresh food and cocktails as we discuss the foodways and waterways of the Long Island Sound. Every week we’ll highlight a different plant from the Victory Garden with ties to the past and present agricultural heritage of the featured region.
The ‘Long Island Cheese’ pumpkin is a little-known heirloom with a mild, sweet flavor, making it a longstanding regional favorite for pies. This cream-colored pumpkin can be found peeking through its light-green leaves in our Victory Garden at the National Museum of American History. It was a popular variety in the Long Island Sound area in the 1800s, mentioned frequently in cookbooks and farmers’ almanacs, but is less common and harder to find in today’s modern markets. A member of the Cucurbita moschata species, this vine originated in Central or South America and made its way via trade and commerce to European and North American gardens as early as the 1500s. By the time of the Revolutionary War it was commonly found in gardens and markets up and down the Atlantic seaboard. In 1807, Bernard McMahon of Philadelphia introduced cheese pumpkin seeds to the commercial market. Cheese pumpkins made their way into seed catalogs and were popularly cultivated in the Long Island region.
The ‘Long Island Cheese’ pumpkin does not, in fact, taste like cheese at all—though we think it would make an excellent filling for ravioli. The flattened shape and the ribbed, light skin of the pumpkin resemble a wheel of cheese, a common sight in early American markets. Connecticut and the New England states were famous for their dairy production, exporting their delicious cheeses to other states and territories.
The medium-sized cheese pumpkins have deep orange, stringless flesh and a sweet taste, a perfect choice for pumpkin pie. According to one D.D. Tooker in an 1855 issue of the Michigan Farmer, cheese pumpkins were the pick of the pumpkins for any self-respecting pie baker:
The ‘Sweet pumpkin,’ alias ‘Cheese pumpkin’ or ‘pie squash,’—is the only true article, in my opinion, for making that most delicious of ‘yankee notions’—pumpkin pie—and I am not alone in my opinions, for I have yet to see the individual who would not agree with me in this matter . . . The shape and color of the fruit resembles that of a small sized dairy cheese, its flesh is very firm, fine grained and brittle, is of a rich orange color, and very sweet. They will keep all winter in a cool dry cellar if picked and stored before ‘Jack Frost’ touches them.
Seeds are still available from a variety of heirloom seed companies. Or be on the lookout for one in your local farmer’s market or pumpkin patch for the upcoming Thanksgiving baking season. As Tooker observed, this pumpkin stores very well in a cool, dry place.
Tomorrow evening, September 4th, FOOD in the Garden attendees will have the opportunity to sample spirits from Westford Hill Distillers, learn about the process of salt-making from Amagansett Sea Salt, and chat with the Smithsonian Gardens horticulturists who keep the Victory Garden growing. The evening’s panelists include Cindy Lobel, author of Urban Appetites: Food and Culture in Nineteenth-Century New York, Stephanie Villani, co-owner of Blue Moon Fish, and Diana Whitsit of Terry Farms.
More information about the program and how to purchase tickets for “Long Island Sound: Human Impact” can be found here.
Up next week: a pepper to spice up your seafood stew just in time for “Cultural Connections: The Chesapeake” on September 11th.
-Kate Fox, Smithsonian Gardens educator
Imagine yourself after a long day outside; you are driving down the road on a hot summer day with temperatures in the upper 90s. Now imagine there is no air-conditioning in the car; immediately a pungent odor of battery acid hits you and mingles with the stench of the other passengers’ sweat. This experience is not common today thanks to temperature controls that are standard in most cars, but it would have been the case whenever you rode in a car until air conditioners were installed in automobiles in 1939.
There were no pine-scented cardboard trees to dangle from the mirror during this time, and many car owners desperately wanted a reprieve from the foul smell. The auto vase, a term coined by auto magnate Henry Ford, was the solution to the problem. As early as 1895, small vases, which held one or two flowers that emitted a sweet fragrance, became the first automobile air-fresheners.
The auto vase is comprised of a small bud vase with a bracket that allowed it to be mounted inside the car either on the dashboard or by a passenger side window. Vases came in many designs and colors, in a variety of price ranges. They not only improved the smell but also added a touch of elegance to the car interior. Pressed glass, cut crystal, metal, porcelain, ceramic, and even wood were used for the vases, which were often paired with brackets that were fancier than the vases themselves. The fixtures could be made of silver and some were even gold plated. Smithsonian Gardens preserves three examples of these auto vases in its Garden Furnishings and Horticultural Artifacts Collection. One of the three is made from Depression glass with a sky blue satin finish, and is encircled by a nickel-plated bracket.
Auto vases were sold in jewelry stores, auto parts stores, and catalogs from companies such as Sears. Henry Ford was so pleased with these simple solutions that he offered them in his parts department and added them to his system of mass production. The service these vases provided made them a desirable feature to add to any car. With improvements in car batteries and air-conditioning becoming standard in vehicles, the auto vase was no longer necessary. In recent years, however, there has been resurgence in these novelties. Cars such as the Volkswagen Beetle revived these little vases for a fresh twist on their interiors, and drivers of other cars have caught on to the trend.
For more information about auto vases:
Steele, Evie. “For your Limousine.” Classic Car, vols. 23-25. Michigan: Classic Car Club of America, 1975. p. 22-23.
Stout, Sandra. Depression Glass Price Guide. Wayne, PA: Wallace-Homestead Book Company, 1980.
____. “Origin of automobile bouquet holders.” Popular Mechanics, May 1913. Hearst Magazines, 1913. p. 678-679.
Lounsbery, Elizabeth. “Some Automobile Accessories.” American Homes and Gardens, Vol. 10. Munn and Company, 1913.
____. “Flower-Decorated Motor Cars the Vogue.” Automobile Topics, Vol. 18. E.E. Schwarzkopf, 1909. p. 386.
-Janie R. Askew
Research Assistant, Smithsonian Gardens
MA Candidate, History of Decorative Arts
The Smithsonian Associates – George Mason University
The theme of Garden Fest this year is “Water, Water, Everywhere.” Join us on May 9th, 2014 from 10 a.m. to 3 p.m. in the Enid A. Haupt Garden for a celebration of the role water plays in sustaining healthy garden and healthy humans. The day will include live music, the creation of a water-themed community art project, and numerous educational activities. In this blog post Smithsonian Gardens volunteer Annette B. Ramírez de Arellano takes an in-depth look at the history behind one of our most popular water features in the gardens.
Gardens are central to the design of the Smithsonian Quad, which comprises the space between the Castle and Independence Avenue. While the Victorian parterre is the largest and most central area of the Enid A. Haupt Garden, two smaller gardens are tucked among the museums. The Fountain Garden, which abuts the National Museum of African Art, is of Moorish design and incorporates key design elements of the architecture of North Africa.
The Fountain Garden was inspired by the Court of the Lions in the Alhambra, the 12th century fortress and palace in Granada, Spain. The Alhambra, which is at present Spain’s most-visited monument, reflects the era of Al-Andalus, when Muslims had control or great influence over territory that extended from Central Asia to Spain. Between the 8th and the 14th centuries, Muslim Spain was a center for the arts and sciences. In the 13th century, Granada was the stronghold of the Nasrid dynasty and a thriving state in both commerce and the arts. The Alhambra, which was begun in 1248 and took 100 years to be completed, was emblematic of the dynasty’s power. It is still the world’s oldest Islamic palace to survive in a good state of preservation.
Within the structure, the Court of the Lions has been called “the most elegant complex of Muslim architecture.” The courtyard consists of two adjacent squares forming a rectangular, with a fountain in the center and 6 fountains in the periphery. The central fountain has 12 lions in a circle surrounding a large marble basin. Water emanates from the mouth of each lion. The courtyard is surrounded by 124 intricate columns which include 11 different types of arches.
Like its predecessor, the Smithsonian’s Fountain Garden incorporates water, tiles, and the symmetrical shape formed by the crossing of four streams of water representing the four rivers of paradise (water, wine, milk and honey). But it is highly stylized version of its Andalusian counterpart, and has jets of water rising directly from the ground rather than spewing from the mouths of lions. The garden also includes a Moorish-inspired wall fountain, in which the water falls over a vertical surface. This provides a soothing sound and cools the ambient air during the warm summer months. The wall is planted with vines that form a veil or chador, thereby alluding to the cultural roots of the original fountain in what is now Spain. Art and function therefore merge with history in the garden which abuts the National Museum of African Art and can be enjoyed by visitors within the Museum as well as by those walking through the Quad’s open spaces.
-Annette B. Ramírez de Arellano, Smithsonian Gardens volunteer
This article was originally published in the National Association for Olmsted Parks online newsletter. April 26th is Frederick Law Olmsted’s birthday; celebrate by visiting a local park!
Several hundred photographic images dating from the early twentieth century and taken by Olmsted Brothers’ employee Thomas W. Sears were digitized recently thanks to a project funded by the Smithsonian Institution. The glass plate negatives are part of the Thomas Warren Sears Collection at the Smithsonian’s Archives of American Gardens (AAG).
The historic images include unpublished views of early Olmsted design projects including the Emerald Necklace in Boston and Roland Park in Baltimore. There are even a handful of images of Fairsted, the Olmsted firm’s office in Brookline, Massachusetts.
Sears started his design career with the Olmsted firm and later went into private practice in Philadelphia. Among his most noted commissions are Reynolda, the R. J. Reynolds estate in Winston-Salem, North Carolina (now part of Wake Forest University) and the Colonial Revival gardens at Pennsbury, William Penn’s country estate in Bucks County, Pennsylvania.
An amateur photographer, Sears documented several projects of the Olmsted firm, his own design work, and numerous gardens and landscapes in the U.S. and Europe that he visited. The Sears Collection at AAG includes over 4,500 of his images, dated approximately 1900-1930.
The 900 Sears images digitized for this pilot project are all available on the Smithsonian’s online catalog at www.siris.si.edu . Their resolution is truly remarkable: it is possible to read the caption of a framed photograph seen in the background of Sears’ dorm room at Harvard University!
Approximately 20% of the Sears Collection was digitized during the rapid capture digitization project. The time needed to capture a high resolution digital scan of each fragile glass plate negative was under a minute as compared to 9-14 minutes per scan that AAG staff had been averaging with a flatbed scanner. The Archives of American Gardens hopes to secure funding in the future to digitize the remainder of the collection which includes Olmsted gems like New York’s Central Park, Buffalo’s Delaware Park, and Branch Brook Park in New Jersey.
-Joyce Connolly, Museum Specialist