Thursday, 8 January 2026

2025, and future plans

I've been writing down projects I've finished on a paper on a pinboard since... 2021 I think? I think I started doing it during lockdowns to make myself feel better. Well, the list for 2025 is fit to make one feel worse: there are only three items. And one of them is this:


- a tiny knitted Christmas ornament I made as a gift for the work Christmas party. I used two acrylic yarns from the stash (one destash from my mum, one bought in a charity sale) and two metallic / Lurex yarns from my huge yarn haul from my previous job. Did I mention that here? Yeah, I must have in connection to the baby blanket from last Christmas. So, yeah. That happened and now I have SO MUCH YARN and so much knitting to do. So this was also a bit of a proof of concept for me for working with those metallic yarns. I declare it quite successful.

Also, it's a tiny thing, but it still took me about three hours to make, so it's not a quick thing, necessarily.

But that short list of three finished projects is a very misleading review of things, because there was quite a bit more I worked on in 2025 - I just hadn't managed to finish most of the projects by the end of the year.

As a most striking example, there's the singlet I knit for my little niece that is already finished - all that's left to do is to sew it up and give it to the intended recipient. Photos to come then.


This I can / want to show. I'm working on a sontag for my grandma from the same yarn that baby blanket was made in. I currently got fed up with it but on the whole, it's a very exciting project because - you may notice I have that 1860s knitalong badge on the right. It's been sitting there since 2010, a reminder of a failure. It didn't work out for me back then; a big part of the problem were terrible old circular needles. Also, I think the yarn wasn't that great either. I have nice new circular needles now, and a yarn that's almost too luxurious (although it tangles a lot in its current unwashed, doubled up state). I recalculated the pattern a bit to work better with my gauge, and of course it won't be in the original design, with this marled yarn (is that what it is called?). But I WILL finish that sontag! Soon! Soonish!

I got fed up with it right now, though, so today I reached for a ball of mystery yarn from that same haul, and started knitting a Monmouth Cap. Well, a modern version. Here is the pattern. I started a hat from the yarn last year (I think it was), trying to figure out a historically inspired top-down construction. But it wasn't working out the way I thought it would (it was far more flying by the seat of my pants than I realised at the time, life's been A Lot), and it was sitting in the naughty pile. Then, going through my Ravelry library today, I realised this yarn was the perfect gauge for this pattern (well, not row gauge, but that's par for the course for me), meaning this pattern was perfect for this yarn and my intentions for it, and off I go. Unlike the written pattern, I'm doing the whole thing on DPNs, and because I don't think I'd have enough yarn if I made it as written, I intend to make the body of the hat an inch shorter. It should still fit me and work for me as a modern winter hat.

There's also the mitered square blanket (separate squares this time) I'm making out of the acrylic I'm never ever gonna wear. It's intended as a baby blanket to be sent to Ukraine. One of the yarns I used turned out to actually have wool in it, and a number of my finished squares shrunk in the wash, so I need to make more. Again, it even could have been finished in 2025, were it not for that. (Well, and the priority Christmas gifts took.)

So that's some of the things that should be finished soonish in 2026, and if all goes well, this year will be better on the finished projects front than last year was.

Of course, things going well really isn't a given these days...

Saturday, 30 August 2025

HSM '23, Ch. 12 - Paired to Perfection: A pair of mustard-yellow fingerless mitts

 

I wanted to have these finished during my summer vacation of 2023 - when Leimomi came visiting and we took photos in historical clothes in historical backdrops... and then the mitts took longer to make than I had hoped, and I lost yarn chicken with the ball of yarn I had with me on our travels. So they only got definitively finished in January of 2024. (It's always the weaving in of ends that takes forever because procrastination.) Aaaand I'm only posting them here now. I have quite a lot of blogging to catch up on.

The yarn I used comes from the same deadstock haul the yarn in the baby blanket I made last year came from. This one is a 28/2 merino; preeeetty fine (I have a couple in 30/2, too; even finer). I doubled the yarn because undoubled it would be a recipe for madness, and also because the few fine wool items from the period of around 1800 I did find (most of them in the V&A) suggested to me a gauge closer to that. Here it's about 10 stitches and 16 rows per inch - I'm always proportionally higher on the row count than the usual 3:4 ratio.

I knitted the mitts according to info I found online in lots of places - both people's descriptions and pictures I peered at. I'm not certain I got it right, but at least I made a good stab at it. My favourite thing about this historical mitt construction as I've inferred it is the way the long body of the mitt is shaped - much like with historical stockings, you do the shaping along one line down the garment, on both sides of the "seam"; in this case, the "seam" is on the outside of the arm, opposite the thumb. It's easier to do than trying to distribute it evenly all around, and actually looks quite good.

Like so:


In this lightweight yarn, the whole pair used up only 44 g of it. Which makes it rather funny that I lost yarn chicken with it anyway. It goes to show that these were truly made from remnants :D - my ball was pretty small. 

* * *

I have quite a lot of this mustard yellow, actually. It's a colour I'm not sure would look good on me as a main garment close to my face, but for historical accessories, it somehow seems close to perfect for me. And yellow is such a cheerful colour.

I reeeeally want to make yellow stockings now. Do I have any use for Renaissance stockings? Nope. But I want to do it For Reasons. Also, I do have Knitting with the Modern Maker, I do want to make more than just socks out of it. (Given my short thick-ish legs, I was thinking I might have to adjust the pattern, whichever pattern I end up using; and then I remembered my row ratio and thought, maybe that would actually end up perfect.)

If I feel particularly crazy, I could turn this yarn into a sweater, and dye it into a more suitable colour... probably not. I also have this yarn in other colours, though. One is a perfect match for a beloved thrifted turquoise-ish turtleneck sweater that, alas, got shrunk in the wash years ago (I had carefully put it in the laundry storage area separately, someone grabbed it with the regular stuff anyway). I am about 99% certain that sweater must have been made from the exact same yarn, considering the yarn's industrial production origins. So there is one definitely madness inducing knitting project in my future. I think the original was indeed made from a single yarn; I'm not doing that, but a sweater on 2 mm needles will be bad enough.

For now, I started with modern socks, just to see how this yarn wears in something less madness-inducing - and to see how I feel in wool socks with zero polyamide in them. :-) There was recently a very funny situation when my mother and me met up for a brief spot of knitting in the park, we pulled out our projects... and they were both mustard yellow. :D With the difference that mine was a sock in this yarn, and hers was a not-sock in a regular modern sock yarn. :D

* * * 

I'm honestly not entirely sure how I made the thumb gusset anymore...

 

I might write up something about making fingerless mitts like this once I am more certain I know what I'm doing. I did write it up, but currently it's just notes for me to remember what I did - it needs a more substantial treatment for something presentable to the public. I do have a lot of yarn to use up, so I do intend to make more - also to go well with different outfits. (I have a lot of fabric to use up, too...)

Just the facts, ma'am:

What the item is: Fingerless mitts
How it fits the challenge: It's a pair. Strictly speaking, they're not paired to perfection, there are imperfections between them... but they're minor. :D
Material: Thin merino cone yarn, doubled (Filati Biagioli Modesto Lambswool extrafine 28/2)
Pattern: My own
Year: c. late 18th-early 19th century
Notions: 2 mm double pointed needles (in reality they're more something like 1,85 mm)
How historically accurate is it? I'm not sure; it's as good as I could figure out, but it's not perfect. I'm not sure if my thumb construction is correct (or more precisely, I'm pretty sure it could be done better). And I'm not sure how accurate the yarn is for my timeframe. (Merino definitely already was around, but I have no idea if they would have made yarn exactly like this out of it, or if they would have used it exactly like this exactly for mitts. Very fine wool yarn did exist, but I'm not sure exactly how fine we're talking.)
Hours to complete: No idea :O
First worn: In January 2024, as they were finished, just because. :D I got quite a lot of wear out of them in Autumn of that year with modern clothes - they do make a great addition to your wardrobe in changeable weather or cold rooms, and having the fingers free while staying more toasty is indeed great.
Total cost: I got the yarn for free! It's old unused stock remnants from work that was sitting in storage and being a moth hazard.

 

Further knitting facts:

Yarn weight: Lace - as mentioned above, Nm 28/2, i.e. 1400 m / 100 g; doubled. So gauge equivalent would be something in about 700 m / 100 g.

Gauge: c. 10 stitches and 16 rows / in

Amount used: 44 g


Thursday, 17 July 2025

Ten for Thursday: The things I loved in the USA (eighteen years ago)

(Eeek, it's been so long?!)

A rare look at my All-time blog statistics informed me that actually one of my most-visited blog posts is the one about things in the Czech Republic I missed in the USA, from back in 2013, regarding my visit in 2007. It also happens to be one of my most controversial ones, in that I received a couple comments, including a dowright offended one, that did not quite get what I was trying to say. Namely, that it was just as much a post about the Czech Republic (which is something I explicitly said in the first paragraph - heck, it says so in the title) as it was about the USA. And that I hadn't hated my visit to the USA - just hadn't enjoyed certain aspects of it.

It's quite ironic because I have far more reasons not to want to return anytime soon now that I am writing this post. 

But I always felt I did owe my American friends and readers a post about the things I did love about the USA during my visit, because that old blog post did come out rather wrong. And I had written another rather critical post in the meantime. And, well, I suppose now is the time to finally restore balance. And perhaps more so than ever - perhaps a lot of people from the USA do need to see there are things to love about their country, even for a rather disenchanted foreigner.

So here you go! Ten things I loved, and still think of many years later! 

Saturday, 1 February 2025

Experiments in Woven Bras, Part 2: The Front-laced Specimen

This is a very belated continuation of my first post of this "series". At this point, the front-laced specimen is already worn out and torn out of use, and has been for several years.

It ended up not fitting perfectly - that's the danger of using a well-used old bedsheet with quite a bit of give in it for fitting a muslin of a closely-fitting garment, I think! I completely forgot about that. So if you venture on this sort of journey yourself, use new fabric for your muslins, not old bedsheets? They're fine for more loosely fitting garments, which is why it did not hit me.

 

Also my figure has changed again. My six centimetres in the bust are back. Frankly I quite liked my sewing D cup, I was used to it, so I'm quite happy to have my six centimetres back. :D

(It's actually also in part to do with the undergarment I'm wearing when taking my measurements, as I found out by putting on an old swim top experimentally. That one got me back down to roughly the minus six measurement, but obviously with a different silhouette. Don't underestimate your undergarments.)

Still, this wearable muslin successfully got me through the summer of 2021 and served as a very good jumping point to finally get it right, figuring out what worked and what didn't. The pluses and minuses.

Minus: One of the major things that didn't work was the fit.

One, I accidentally made it too small in the (front) underbust (totally the fault of overfitting in a fabric with too much give), which is of course where it eventually tore.

Two, the princess seams sat too far out towards the back rather than going over my apex (again, I suspect, the result of overfitting in a fabric with more give).

Three, I put the curved seams on both sides of the princess seam which makes for a bust shape that's rather... Regency. :D (Pointing out to the sides, I mean.) Potentially useful discovery in reference to Regency/1820s stays with princess seams*, but not really a look you want to be sporting in your everyday 21st century life!

* (Modern princess seams usually have the centre piece cut fairly straight and the side pieces accommodating the bust curves, a close look at the famous Musée Galliera short stays shows me it's the other way round around the year 1820.)

As mentioned in Part 1, this is actually the adjusted pattern that led to specimens 2 & 3. But it illustrates the point.

Four, the back turned out to need a bit of taking in at bottom centre in order to really sit flush against my body (and provide even better support). I think that was, in this case, because I stand up much straighter when my bust is properly supported than I did when I created the original pattern (while probably wearing a rather badly fitting bra). However, I also ended up having to take the back in in my experimental Regency wrap bra and in a more recent bra created from a basic block from FreeSewing.org; so I think this particular detail may also have something to do with my recent suspicion/discovery that I have a comparatively narrow back compared to my front and my overall measurements. Not in terms of the over-the-shoulder-blades measurement that's usually considered "a narrow back", I think mine's kind of average for my overall size if not even a bit bigger (I think I do have a bit of a round back going on). But right underneath that point, at the bust / underbust level. Which is precisely what leads to these close-fitting garments having to be taken in at the back - I need to take a wedge out of the bottom hem for proper support.

Plus: Which brings me to a thing that did work in this first bra instance - it did support me. Zero bounce. It kind of flattened my bust, probably sort of in the early 20th century style that this ended up being, and it worked. At least until the whole thing started shrinking and then falling apart... (Or was that due to my bust measurement reduction being only a temporary fluke?)

Minus: Which brings me to another thing that didn't quite work - when I say zero bounce, I mean zero. Zero give. A bit of elastic does come in handy. It's telling that even many Edwardian brassieres did have elastic in the sides...

 

Aertex bust bodice, c. 1900s, the Underpinnings Museum, ID: UM-2017-001 Photo by Tigz Rice.

For the sort of physical activity I got up to at work (quite a bit of raising arms to reach above my head, actually), a bit of elastic around the straps turns out to be something useful. Not fully elasticated straps like in modern bras, those are annoying... Elasticated sides turn out to be something from the past we should not have done away with!

So yes, those are features I worked into the next step in the evolution of my woven bras.

 

Plus: What I did quite like about this specimen was the front closure. It didn't work perfectly because I had a fairly short string to lace it (working from stash here, folks), so putting it on was still a bit annoying, and the lacing isn't ideal for wearing under fitted tees. But a front closure really is very nice in terms of not having to fiddle with things blindly while contorting your arms behind your back! Even though by now I'm used to that action and did end up making bras with back closures as my default, I think I also want to try my hand at front-closing ones - both simply because it's a nice alternative, and because, well, accessibility: I think exploring that process could help other people.

Neither quite plus nor minus: I decided that on all future brass I would make the "band" part - the underbust part - a bit deeper/taller so that it grips the underbust better and provides a better "counterweight" to the bust. It wasn't a problem per se, but it is even nicer to wear that way, especially because in these unstructured bras the bust tends to slide down a bit when it's not so flattened. This, I suspect, is an experience anyone with a bust bigger than a C cup is familiar with.

 

The construction process for woven bras like this is pretty simple: sew the seams, cover the seams with tape (bias for the curves), finish the edges by taping, attach straps. The elasticated panels I started making in later instalments add a complication, but it's still essentially the same.

In this one, I inserted cords into the folded hem at centre front for added strength, and then added handworked eyelets for lacing. The straps, which in this case were just pieces of plainweave tape, I attached with flat-felled seams for a neat and sturdy finish. On principle, as a simple woven bra from a quilting cotton-type fabric, this construction works very well. Everything else I built on top of this basis from now on is just a variation on the theme.

My right strap, in the front, is another place where it started tearing, which I think I can confidently link to all the arm-raising and lack of elasticity.


Further observation: As I suspected, strengthening the centre front in some way and potentially adding more shaping to it also does seem to be rather crucial if you don't want to end up with a monoboob. It's not an accident that Regency stays and Victorian corsets had busks or at least boning down the centre front!

This also happened to be a HSM entry back in 2021, so here's a very belated blog listing for it:

The Challenge: HSM 2021 #3: Small Is Beautiful

What the item is: An experimental 1st part of the 20th century bra.
How it fits the challenge: It's not a big item. 🙂 And it's a pretty necessary part of the whole outfit looking beautiful...
Material: white cotton plainweave
Pattern: my own; the back was hacked from the pattern of my sleeveless spencer, the front is the result of a lot of measuring + muslin fitting
Year: 1910s-1930s.
Notions: cotton bias binding, cotton twill tape (I suspect a blend, actually), cotton plainweave tape, cotton thread that's two 2-ply S twist Z-plied (Hagal), cotton thread that's 3-ply Z-twist (Amann) because the previous turned out not to agree with my sewing machine so I've relegated it to handsewing duty, beeswax for waxing said handsewing thread, twisted cotton cord for cording and lacing (for now, I may change it up eventually)
How historically accurate is it? Meh. It turned out to be a sort of wearable muslin that's all and nothing and not entirely correct for any decade (the whole lacing with cording part takes its cues from even earlier garments, I suspect). But I tested out the pattern (needs tweaking but works very nicely) and the theory of vintage bra construction I've derived from looking at lots of photos of originals on auction sites (because those are usually nice and show details of the insides), and I think I'm definitely headed in the right direction here for being able to make 1930s-style bras for both modern and vintage wear, and hopefully also an even more correct 1910s-style princess-seamed bra.
Hours to complete: Not sure. It took several days, not of full sewing, in part because my machine was acting up (which thankfully turned out to be a thread problem)
First worn: ... not sure which day exactly it was, I've now been wearing it for about two weeks. (June 26 2021)

Total cost: Cost of materials lost to the mist of time. But it would not be much. 

 

Next up: Another dead end. The first elasticated attempt which with all the adjustments for that it took waaaay longer to make than it should have and remains unfinished and abandoned in favour of simpler, better fitted, more sturdy specimens. I made it in a fabric that was too flimsy. Woven bras are one garment type that quilting-type cotton is perfect for! And I planned the placement of the elastic in the elasticated section wrong, so it did not have the necessary grip in that area.

I'm going to document that attempt even when it failed, because it's still a good demonstration of the principles of woven bras that I discovered along the way. As the Czech saying goes, mistakes are how you learn.

Thursday, 30 January 2025

An understated 1930s heroine's wardrobe

 


A look in the calendar informed me it's the nameday for Erna (a pretty unusual name in Czechia), which makes this the perfect day to post about Erna Ženíšková's wardrobe in Děvčata, nedejte se! (1937).

It's a 1930s film with shenanigans: Here, a single mother starting in a new job temporarily deposits her baby with her no-good former partner who is so no-good that he immediately puts his own baby daughter in his neighbour's room to get rid of her, and skips town. Said neighbour is a good-hearted teacher who is just about to head out to his new job at a girls' boarding school, also in a different town... and because he's good-hearted, he won't leave the accidentally acquired baby behind. Hijinks ensue. The baby acquires a schoolful of young "mothers"; the teacher acquires a young admirer, but then also, ultimately, a prospective wife to go with the baby. The baby acquires a father and her mother acquires a far more responsible if rather scatterbrained prospective husband.

The whole film's now legally free on YouTube, courtesy of the Czech National Film Archive. It was already previously there temorarily during lockdowns, in what I understand was probably some sort of lockdowns measure?, which is how a couple years ago I found out that I LOVE what Erna Ženíšková was wearing there.

And that I want that dress.

My understanding of what's going on here is that there's a centre front seam. There are darts going down from the shoulders, hiding behind the collar here - shoulder darts seem to be the standard solution at this point in time. The bottom of the bodice appears to be bloused. There's definitely a waist seam. I'm not sure if there are or aren't darts in the skirt. The dress has a side opening on the right, where the belt closes with two shank buttons.


The skirt appears to be fairly narrow but not too restrictive, although my screengrabs fail to convey that properly. Maybe bias-cut?

And the collar exists only in the front.


The sleeve heads have only a slight puff, and there are darts there.

 

Plus there's that thin line of white at the sleeves that, in an understated way, ties it all together.

It's like an upgraded Little Black Dress, and I love it. I do wonder if the white parts might be made interchangeable, snapping in, so that it's a proper LBD that you can change the look of with accessories?

It looks very similar - though it's not identical - to this vintage pattern, which gives me those interchangeable accessories ideas:

I found this image here. If anyone knows which pattern this actually is, please let me know!

Erna's also wearing a sweater in the film! This is, in fact, her first appearance.


 

Actually I think it's a cardigan... there appears to be an overlap at the hem here...

 

I don't really see any obvious buttons and buttonholes in my screengrabs, though. Not enough detail. :-(

In any case it's quite fitted, shaped largely by being ribbed, and I think the basic construction could just as easily be applied to a sweater. And I love that it goes a bit further down the hips than many other 1930s knits. A practical garment for an active person!

The skirt she wears in this first scene is another thing I'd love to recreate - it appears to be a simple flared gored number.


Not sure if this is the same skirt or a different one:

I think that might be another knitted jumper? With a lacy collar.

And that's all there is from her! I also love the storytelling in her clothes - I showed it out of order, but she starts out with the very simple cardigan-and-skirt combo, as someone almost at the end of her rope. Later on, already getting on her own two feet with a new job, she has more confidence which shows in the more spiffy, put-together number - we can perhaps imagine she bought that lacy collar to spice up her existing outfits. Then, when she goes to the school to find her daughter, she's obviously put on her very best clothes to present herself in the best possible light.

Erna wasn't a big name actress, in fact I think she wasn't an actress at all - her sister Marie was. And in this film the big-name actress was Adina Mandlová, who's in a greater part of the film. But Erna is "the endgame". :D She was the mother of the baby who got cast, and in the end she got cast in the role of the struggling single mother herself.

It's entirely possible that the clothes she's wearing in the film are her own... What struck me about them, and what I fell in love with, is the fact they're quite understated and practical. Not the usual 1930s film heroine look. These are 1930s clothes I can picture myself wearing!!!

(Well... aside from the greater number of buttons. Koumpounophobia.)

Obviously I don't have Erna's willowy figure; but a big part of what I find alluring about these clothes is that with the appropriate adjustments for fit and proportions they'd probably look good on just about anyone.

Plus I love, love, love her everyday-person hairstyles!

And her winning smile that also won over our good-hearted hero.

Seriously, though, that dress. I have a very very dark navy lightweight worsted wool earmarked for it. It's happening! I don't know when, but it's happening.

Saturday, 25 January 2025

A baby blanket

This was the big project of 2024. It seems a bit unimpressive to sum up my 2024 projects with this flat rectangle of kniting, but there is quite a lot of work in it!


I have a niece now. This was made for her. The yarn comes from a HUGE haul of old cone yarn I got for free at work a couple years ago - unused yarn that had been sitting in storage for years and being a moth hazard. This particular one is Kirman by Linsieme, a 2-ply 92% merino 8% cashmere which, amazingly, survives machine washing. I tested that by running a sample repeatedly through the machine at 60° Celsius. So I knew it would be perfect for a baby project - soft and washable.

It's a mitred square blanket made more or less using the Knitting Squirrel tutorial - but I used the same yarn throughout. Kirman tripled. And size 4,5 mm needles. There's 40 squares starting with (more or less, depending on how I managed to pick up the stitches in some of them) with 40 stitches. Then I finished the whole thing off with a crochetted border in doubled Kirman, two stitches per stitch so it formed a bit of a soft rufle.


Not much else to say about this one really - other than I finished it at Christmas at grandma's, and she loved the yarn, so we agreed I would make her a sontag out of it. I believe two strands should be just the right thickness of yarn for the Godey's Lady's Book 1860s pattern floating around. Just the thing to keep grandma warm when sitting next to a window, as she does! I'll probably have to adjust the size - I do have her measurements from back when I was making a dress pattern for her. 😁

Thursday, 4 April 2024

HFM '24: March - "Sappy, Sweet, Syrupy, but not Sugary": Jidáše / jidášky - Czech Easter buns

 

This post got a bit out of hand. I haven't done the Historical Food Fortnightly in... huh... ten years. WHAT. I've definitely done historical recipes in the meantime, but apparently I haven't managed to do it topically.

Which wasn't just my problem, actually. After years of languishing, the HFF, just like the HSF years ago, has dropped the final F and exchanged it for M: It's the Historical Food Monthly now (link to Facebook group, which seems to be its only official online presence now). More manageable.

So I haven't written anything food-y here in quite a while, and it turns out I have developed a lot more thoughts on the topic since 2014.

Anyway. Sorry for the wordiness. I hate recipe posts with lots of rambly text before the recipe just like any other person, but, well, this isn't necessarily a recipe post. I swear, there's no "I took my kids to school and pondered the meaning of life" here. :D Just quite a lot of explanations of what I did food-wise and Easter-wise, and why I chose this particular food, and what I did to it and why, and thoughts on my process and cookbooks and research, and... yeah, I think that's about it.

The brief for the March challenge was to make something sweetened by something else than sugar. So, as it happens, these are a bit of a cheat, because there is sugar in the dough. Also I ended up actually making them on April 1st. Oops. The intention was to make them on Holy Thursday (March 28), when most traditions say they were eaten for breakfast, preferably before sunrise, so that people would be protected from poison, snakes and wasps (it would not have been breakfast in my case, but I don't subscribe to the accompanying superstition anyway). That did not happen, so I thought Saturday (some mentions of that being traditional as well), but, well, Life Kept Happening.

My original original plan was actually to make something sweetened entirely by honey, most likely gingerbread - I found online a 1920 book all about honey and its uses in the household (that's the name of the book: "Honey and Its Use in the Household", in Czech that is) including tons of various recipes for gingerbread. The problem with those recipes is that the dough usually has to rest for at least a week before being baked, and then very often the gingerbread has to rest, too, to soften and be more easily edible. It's what traditional Czech gingerbread (imprecise word, that) is like. And exploring and sharing that would be pretty great for the HFF, but... But. Between a week of nightshifts and then falling ill for more than two weeks and feeling pretty miserable for at least one (it's just some sort of seasonal cold, not Ye Newe Plague, but it's been pretty clingy) and being still pretty tired even on Easter Sunday*... I ran out of time for that kind of shenanigans.

So because of Real Life, at the last minute I changed gears and made these, which do have sugar in the dough but then are brushed with honey on top.

The name means "Judases" or "Little Judases". Warning: it's morbid. I'm currently unclear on where the heck that tradition and the name comes from to begin with, but, morbidly, they are - at least in the form I made them in, there are many others - supposed to represent the rope Judas hung himself on (which, by the way, only Matthew mentions; the other gospels say nothing on Judas' fate, and Acts says something else. I've just checked.) So, ahem, there's that. But, really, they come in all sorts of shapes including basically hot cross buns so that connection is a bit tenuous anyway, and if you don't want to be morbid, you can totally do something else.

 

I did opt for this shape because it's pretty simple and I wanted to try it, but next time I'll probably just make round buns the way I always make them, plus cross. I don't really have childhood memories with jidášky (we usually just had mazanec, so that's what I primarily associate with Easter), but I think mom did make them once or twice, and did make basically mini-mazance / hot cross buns: that's what my sister also thought they were supposed to look like. And what I had thought they were supposed to look like once upon a time before the internet introduced me to different versions that almost everyone else seems to be making these days. I'm glad the utter confusion in historical sources helped me clarify my own. :D

My lack of true family tradition of them is, obviously, precisely why I wanted to try my hand at them. One mention I ran into - now I can't remember which one, I haven't been entirely organised with my research here - says "spirals". My main recipe lists "variously twist them" as an option. Primarily it has you rolling the dough out to be about 2 cm thick and, "with a smaller doughnut cutter", cutting out circles (Czech doughnuts without holes, not American doughnuts), and then cutting "a lattice" into them (so not even crosses). I could have done that, but I did not want to do that because that way you end up with dough cabbage**, and then you have to deal with said cabbage.

Some 19th century mentions just say "placky" (something like "flatcakes"), and I even found mentions that poor people just ate regular bread with honey.

So it seems the shape and style varied a lot depending on the region, or maybe even family tradition; so you do you. The main point is that they should be quite small, and go with honey - either they are brushed with it immediately after baking (or even before), or they are spread with butter and honey when cooled down, either cut in half like breadrolls, or maybe even just on top if in a more "flatcake" form.

... phew, that was a lot of options to cover.

Technically, I think I could have used honey in the dough, too, because that may very well have been done by rural people in the 19th century and it's not like I was sticking to one recipe, anyway. But I wasn't really up to trying to calculate a conversion like that, I don't have proof for it, and also, to be honest, the illness still kind of lingers (aaargh!) and I have even better uses to put that honey to.

The Challenge: HFM 2024 #3 Sappy, Sweet, Syrupy, but not Sugary

The Recipe: Combination of "Jidášky" and "České koláče I" from Kniha rozpočtů a kuchařských předpisů všem hospodyním k bezpečné přípravě dobrých, chutných i levných pokrmů by Marie Janků-Sandtnerová ("A Book of Calculations and Cooking Recipes for All Housewives for Safe Preparation of Good, Tasty and Frugal Meals"), 36th-60th unaltered edition (?!) from 1941 - which I own a physical copy of. "České koláče I" for the dough, "Jidášky" for what to do with it.

But for the latter I also referred to "Jidášky - pečivo pašijové" from Úsporná kuchařka ("Frugal Cookbook") by Anuše Kejřová, specifically a 1938 edition I found online, which, it turns out, differs from my 1990 reprint of a 1924 edition that does not have this recipe.

And then I looked through the Digitální knihovna website for other mentions, and found a bunch of 19th century ones that did not give recipes, but described various ways of shaping, treating and serving them, which resulted in the paragraphs above about the various options for shapes. Annoyingly, most of the mentions I found did not say which region which version applied to. In any case, in the end I basically combined all of my sources.

The original ingredients according to Sandtnerová (I cleaned the list up a bit to be clearer on the measurements, it uses dkg and fractions of liter which always confuses me in recipes) are as follows:

500 g flour
salt (just a little bit)
1 cm vanilla pod, "pounded" (huh)
lemon peel
20 g yeast
250 ml milk
100 g butter
70 g sugar
2 egg yolks
Then, possibly more relevant to the koláče recipe, it also has:
20 g for greasing the baking sheet and to brush after baking
1 egg yolk for brushing
10 g of vanilla sugar (and with this one I was unable to discern in the text of the recipe where it was actually supposed to go, but I am including it here because it's relevant to the changes to the recipe I ended up making)

I altered the ingredients a little bit. For that, and the making-of, see How Did You Make It below.

The Date/Year and Region: Czechia, first half of the 20th century. Well, technically they may have a much wider time-spread: allegedly they may go as far back as the Middle Ages, but I did not research that far back, I suspect older recipes will be different, and I did not even find 19th century recipes (just descriptions), so my recipes are from the 1930s and 40s and that's what I can fairly confidently say my version is more or less accurate for.

How Did You Make It: First off, I made a smaller batch. The original recipe says "for 5-10 people", and this is a two-people household. On the other hand, I knew they'd disappear quickly anyway :D, so I did not halve it; I re-calculated for 400 g of flour instead of 500 g, which in my experience is just about right to fit on my very limited number of baking trays, so I ended up with:

400 g flour
56 g of sugar
16 g of yeast
200 ml milk (full-fat)
80 g of butter
I did not try recalculating the egg yolks :D and just used two, and also I did not recalculate the butter for brushing after baking and simply eyeballed it.

I also changed some of the ingredients:

- I'm not sure what sort of lemon peel was intended, but I used dried because that's what I have (they conveniently sell it in the local "bring your own packaging" shop). Instead of "fresh" vanilla, I used a packet of vanilla sugar with real vanilla (and used slightly less regular sugar): I figured that was a pretty good alternative, especially when the original recipe also names vanilla sugar.

- I used active dry yeast (I think that's the type of dry yeast I currently have). I don't really buy fresh anymore, because it tends to result in half a cube of mouldy yeast... So I mixed about 5 g of dry yeast with a teaspoon of sugar and about the same amount of flour, and then a little bit of warm milk, just enough to create a sort of wet paste, and after a while I saw it bubbling a little bit and called it good and used that.

Following the recipe, I mixed the flour with the other dry ingredients (minus what I used for my yeast starter), then warmed up the milk (using a little bit for the yeast starter first), melted the 80 g of butter in it, then mixed the two egg yolks in it.

Then I used my now tried-and-true method of mixing the wet ingredients into the dry ones gradually. I plopped in the yeast starter, washed out its bowl with some of the milk mixture - about a third - and added that, then mixed it. Another third of the milk mixture, mix. Add the rest, mix. This way, I don't have to knead too much; it comes together quite quickly and I can then work it by hand instead of pouring all liquids in at once and then faffing about with the wooden spoon and tiring myself out while waiting for the dough to finally stop sticking to it. (Honestly I don't know why so many Czech leavened dough recipes tell you to do that; this way is much better.)

Unlike Sandtnerová's recipe, I did not sprinkle flour on the finished dough before raising; I just put a teatowel on top of the bowl and let it rest in the kitchen. Kejřová does not mention flouring it.

Then I divided it into 16 pieces, and rolled (well... partially just stretched) each piece into a long thin strand - ideally: Kejřová says "about a finger thin and about 25 cm long", but mine ended up... varied. Some were just about right, some were bigger. I think a larger number of pieces might have resulted in a better size, but 16 is way easier to do. :D If you do a full batch, maybe 24 pieces would work?

 

Based on all my sources, I opted to create simple "rope" twists, to place them on the baking trays to rest a bit, and then to brush them with the egg-yolk. I thinned down my yolk a bit, too, with milk. It was pretty thick and I did not want to fight with it and wanted to be sure it would be enough for all of the pieces. And I was glad I did. I did brush them fairly generously, but I'm not entirely sure how one un-thinned egg yolk was supposed to be enough for a whole full batch.

If I remember correctly, I baked them at 190-200 degrees Celsius (my oven isn't very precise) for about fifteen to twenty minutes. I put both trays in at the same time which... was a mistake: the upper batch got quite dark, and the bottom batch needed more time. I grew up with a convection oven in which you can bake more trays at once. I keep forgetting that my current regular oven isn't well-suited to that. :D


And then I brushed them with watered-down honey immediately after baking. Half of them. I brushed my half very generously with about two spoons of honey mixed with one spoon of water, and my sister's half with melted butter because she asked for no honey. (She likes sweet bakes like this very, very mildly sweet.)

And that was that. Done! Enjoy!



Time to Complete:
Hmm... I think it took me maybe 20-25 minutes to make the dough (I'm a bit unsure on this), then about an hour for it to rise, then about 20 minutes to make the shapes, about 20 minutes rest on the baking trays, and about 20 minutes to make. Let's say 2,5 hours?

Total Cost:
Ahem. I don't knooow. I honestly don't remember how much the various ingredients were, especially since some of them had been sitting in the pantry for a while; and then with some of them (honey, the lemon peel...) I only used a little. I'm really not up to approximating it. Let's say it's not a super-expensive recipe, but with the honey and butter and vanilla it's also a slightly fancier one.

How Successful Was It?:
Most excellent, will do again. With the wall of text all around this statement, I need to stress it again: they were delicious and very more-ish. And even with the honey, not too sweet.

How Accurate Is It?:
Well, I documented most of my changes to the recipe(s) above. While I used dry lemon peel and vanilla sugar instead of vanilla + sugar, I think those are both plausible changes and overall it's not bad at all on the ingredient front. The most inaccurate ingredient is the active dry yeast: it was invented in 1943 in the USA, so it doesn't seem very likely to have been available in Czechia at the time. My father, born in the mid-1950s, remembers his mother buying pressed yeast by weight.

When it comes to technique, I wasn't accurate to any one recipe, but I think overall it's also quite plausible. One major modern convenience I used was baking paper instead of greasing (Sandtnerová) or greasing-and-flouring (Kejřová) the baking trays. And one last change I did not squeeze into the above paragraphs is that Kejřová says to brush them with watered-down honey before baking, as an alternative to the egg yolk. I opted instead to do both, egg yolk first, honey after baking. I did not find a historical recipe saying exactly that, but some modern ones and family traditions do say that, and it seemed to me safer to not put the sticky sweet substance into the oven. Considering I nearly burned the top layer, I think that was a wise decision. :D


Last notes and what I learned:

My honey was runny, which is perfect for brushing, obviously. If your honey isn't runny (has crystalised), you can just melt it gently in a water bath, or in the microwave. If your honey is of the honey paste kind, it probably won't be great for this recipe, even melted.

Overall, I think this exercise was also, for me, a good proof of how I have become more experienced and better organised with following recipes / planning my cooking (if I try), compared to the days when I started doing the HFF. I was still pretty scatterbrained from the illness, but I was able to prepare most of my ingredients in advance and flow smoothly from one task to another, without getting much confused and panicky and losing time along the way. Aside from that one moment when I went "oh, bother, my milk is pretty hot already, I need to use non-buttery warm milk for the yeast starter but I also need to melt butter in the rest of it because I have already turned down the flame because it's pretty hot already." That resulted in me blowing on teaspoons of milk to cool it quickly so that I would not kill my yeast but still had milk hot enough to melt butter in. It worked out fine. :D People posessed of a microwave oven will likely not have this problem.

Last note along the lines of being organised in the kitchen is that the remaining egg whites went into a soup the next day. The egg whites are something you do have to find a use for.

As said waaay above, I did learn more about the various versions and traditions of jidáše / jidášky, although less than I would have liked. I did not learn which version comes from where, and why some 19th century mentions said they were something done specifically in towns when it seems from other mentions they totally were being made in villages as well, and whether that may have something to do with the different versions and regions. And what the heck exactly was Čeněk Zíbrt talking about in the late 19th century when he said recipes for them can be found in Old Czech cookbooks? Mr Zíbrt, could you tell me where? I'm not going to stress any of it, though; it's not my primary area of interest. If I ever have time and opportunity to learn more, I will be happy to, but I don't want to get lost in this rabbit hole right now.

I also learned that brushing rich, heavy leavened dough like koláče immediately after baking with melted butter or some sort of liquid helps keep it nice and soft. More precisely, I had already known that, but due to the craziness of recent years this was the first time I actually got around to doing it. And also I had never before seen mention of doing that with water (well, watered down honey in my case, so that may play a role), only milk or rum, but it seems it might actually also work. So that's one for the mental notebook.

Also also: Kejřová puts poppy seeds on top and Sandtnerová almonds, which I think is the first time I have ever heard of doing that (though now that I google pictures, I can see some - mainly poppy seed). I left them out, also because, somewhat annoyingly, Sandtnerová's recipe for jidášky redirects you to the dough recipe for koláče that does not use almonds, and she does not have a separate ingredient list for jidáše so the info of what else you need for that particular recipe is buried in the text. I wonder if those toppings are traditional (for somewhere), or 20th century "improvements". I wonder the same about the vanilla - Sandtnerová uses it, Kejřová doesn't.

The search for recipes was also, for me, a bit of a further proof of what I already suspected, that is, that while we tend to think of Rettigová's 1820s-1840s cookbook (which I've used before) as THE basis of traditional Czech cuisine, it actually does not have a lot of the recipes we now think of as typically, traditionally Czech, and Sandtnerová a hundred years later does. Rettigová is definitely where the modern Czech cookbook tradition begins, but hers is mainly the aspirational cuisine of relatively rich bourgeoise families of the Biedermeier, and I think a lot of what we think of as typically Czech originates in more rural traditions. If you want the sort of thing thought of as typical Czech cuisine nowadays, forget Rettigová***, "Sandtnerka" (first published in 1924, then many many many times more) is the golden standard.

Which is why I consider my copy one of my greatest treasures, even when it is, as we say in Czech, "a salad edition". ****


* Part of the reason there wasn't an Easter Sunday post this year, either. It was exacerbated by Easter Sunday being the same day time changed from winter to summer time. Extra awful this year, that. I went to church late, and arrived even later because not that far from there I had to sit down on a bench and sit there for about twenty minutes, bird-watching, because my legs had gone wobbly. And quite honestly I think after so many years of this blog's existence I have kind of run out of ways to write a generic Easter post. Easter is still happening, and it's still great, but I think I'm giving up on that self-imposed duty and I'll just write things around Easter from now on.


 ** AKA offcuts / remnants, a historical tailoring term. Its application to dough originates with Bernadette Banner and her years ago attempt at Victorian gingerbread. Sadly, it seems in her more recent switch to  professionalism she has removed that video from public listing, so you cannot bask in its beautiful nerdiness anymore. :-(

*** No shade on Rettigová. She definitely has some bangers that don't deserve to be forgotten.

**** Loose leaves, kwim?