Zabeerglione, or flip your way into 2019

If you’re having friends over for a new year’s eve meal this evening, you’re wondering what to make for dessert and you have a bottle of super-strong ale or stout in the house, can I suggest – zabeerglione!

This is a spin on zabaglione (or zabaione), the classic Italian dessert made with whipped egg yolks, sugar and marsala, the fortified, generally sweet wine from Sicily. Using beer instead of marsala, or sherry, pushes the dish in the direction of the ale flip, a traditional British winter hot drink using beaten eggs, heated ale, spirits and spices.

Any strong (over 10 per cent abv) well-flavoured beer will work. I’ve employed Thomas Hardy Ale with success, but I particularly like the results of using Fuller’s Imperial Stout: the roasty, bitter flavours of the beer meld well with the sweet, creamy egg-and-sugar mixture, and if you follow the suggestion of placing cooked peach slices at the bottom of the glass you will get a hit of acidity from the fruit at the very end that rounds the experience off. It’s filling, warming, settling and satisfying, and will leave your guests with a gentle glow as this – interesting – year comes to an end.

Zabeerglione needs to be served as soon as it is made, but it should take no more than 10 minutes, and your guests can come and watch if they like: the transformations are fun.

Utensils
Whisk
Metal mixing bowl
Pan large enough to fit the mixing bowl in without the bottom of the bowl touching the simmering water below
Large wine glasses or stemmed beer glasses

Ingredients
8 egg yolks
150g sugar
1 tablespoon vanilla sugar*
250ml strong ale or stout

2 peaches, sugar

Serves four (greedy) to eight

*Vanilla sugar is made by keeping vanilla pods in a jar of sugar for at least a month, and should be in every good cook’s store cupboard. If you don’t have any, adding a drop of vanilla essence into the mix will do, I suppose …

Method

Slice the peaches (or nectarines), boil just enough water in a saucepan to cover the peaches, adding two tablespoons of sugar, and cook the peach slices in the boiling water until soft – perhaps five to ten minutes. Set aside. (This can be done early.)

Set a pan of water to simmer. Whisk the yolks, sugar and vanilla sugar together in the metal bowl until the mixture is a light lemon-yellow colour. Whisk in the ale or stout, pouring slowly. Place the bowl over the pan of simmering water and continue whisking vigorously until the mixture has rise in volume and is smooth and fluffy.

Arrange four to six slices of cooked peach in the bottom of each glass and pour the mixture on top. Serve straight away.

Enjoy! And the very best in 2019 to you all: it’s going to be an interesting year, beer-wise, at Cornell Towers, I can tell you now.

Imperial stout zabeerglione

Mumma, mixed a beer today …

The Swedes have had a fondness for porter since at least 1780, when the Swedish botanist Bengt Bergius claimed that in Sweden “a lot of English beer varieties have started to be seen on some of the wealthy tables, especially English porter, which is now brewed as good here in Stockholm.” Nothing seems to be known about who might have been brewing porter in Stockholm at that time, but nine years later a Scot called William Knox opened a porter brewery in Gothenburg, on Sweden’s west coast. There were several other small porter brewers in the town over the following decades, but in 1817 a trader from Hamburg, Abraham Lorent, opened what would become the country’s biggest and most successful porter brewery in Klippan, on the edge of Gothenburg. Lorent died in 1833, and after a tricky few years the brewery was bought in 1836 by another Scot, David Carnegie. The Gothenburg brewery eventually closed in 1979, but Carnegie porter is still brewed today in Falkenburg, about 60 miles south of where it was born.

One Swedish Christmas speciality is a mixed drink called Mumma, made from porter, lager, soda water or lemonade, a shot of sherry, or Madeira (or even Burgundy), perhaps a touch of honey or sugar and, sometimes, a pinch of cardamom. The name, presumably, comes from the herbal beer brewed in Brunswick, Germany, called Mumme. It’s a tasty pre-dinner tipple, though sometimes people drink so much of it that they fall asleep, an event commemorated in the old Swedish folk song “Does Your Mumma Know that You’re Out?” *

Here are three recipes for Mumma, should you wish to have a go yourself: plenty of others can be found on the interwebs, though watch out for Google Translate: confused by etymology, perhaps, it seems to think that “porter” in Swedish means “gates” in English, and “lager” means “stock”.

Make your own Mumma (1)
500ml lager
500ml stout or porter
250ml lemonade or soda water
75ml madeira
A splash of gin (optional)
A pinch of cardamom powder

Mix together in a jug and pour from a height into your glass to get a lovely big head

Mumma (2)
Four teaspoons sugar
50 ml sherry
500ml lager
500 stout or porter
250ml soft drink of your choice

Put the sugar into a jug and pour in the sherry. Stir until the sugar dissolves. Pour in lager, stout or porter and sugar drink.

Mumma (3)
500ml porter or stout
500ml lager
1 teaspoon of ground cardamom
Two tablespoons of honey
Two tablespoons of Madeira

Grind the cardamom, mix in a jug with the honey and a splash of water. Heat in a microwave or saucepan so that the honey becomes runny. Pour the Madeira into a pitcher and add the cardamom and honey. Pour the lager and porter into the pitcher, carefully, as it easily foams. Lightly stir around with a spoon. Serve ice cold.

If you don’t want an Abba song as the accompaniment to your Mumma, and like me you used Budweiser Budvar as the lager, here’s something rather more Bohemian:

Mumma! Mixed a beer today,
Pils and porter in a jug,
Add Madeira, find a mug.
Mumma! I had just begun –
Put some lemonade and gin into it too.
Mumma! Ooh, it’s so good it made me cry.
I think I’ll make this drink again tomorrow!

My Mumma (we’re all crazee now)

* Ahhhh – no.

If you buy one book on pubs this year …

The “we ran a pub” category of published biographical reminiscence is small, but still includes several classics: John Fothergill’s An Innkeeper’s Diary, for example, arch and snobby, with dropped names covering every page like drifts of autumn leaves – “Ernest Thesiger turned up for the first time … the D’Oyley Cartes came with their usual big party” – and George Izzard’s One for the Road, about the Dove at Hammersmith, which is less snobbish but almost equally rammed with famous customers (“Alec Guinness came in and ordered the drink most appropriate to his name … Dylan Thomas never drank heavily at the Dove. His usual order was a pint of mild and bitter.”)

Now another behind-the-bar tell-all has arrived, doubly unique because it’s about a female mine host, rather than the usual landlord’s tale, and it has been written by the grand-daughter of the main character, not the person whose name was on the licence. But The Last Landlady, by Laura Thompson, deserves your attention for more than its celebration of women running pubs: it is both a paean to a particular successful and charismatic female publican, and an elegy that, ultimately, commemorates and mourns what Thompson clearly feels is a fading, vanishing, dying version of pub life, where landlord/landlady and customers were willing actors in a daily drama, each knowing their parts and performing them for the satisfaction of themselves, their audience and the others in the cast. Thompson’s grandmother Violet Ellis was, it is clear, one of the great bar owners, barely known outside her small section of rural England, but queen of all that lay under the shadow of her innsign and at the same time – if I may mix myself a metaphor – ringmaster of the circus that performed twice daily between 11am and 2pm, and 6pm and 10.30.

But the book is called “The Last Landlady” because, Thompson clearly believes, the sort of landlady Violet was, the sort of pub that Violet ran, no longer exist, can no longer exist, when fewer people visit their local regularly – fewer people even have a local – and the opportunities for women like Violet to be the stars in their own long-running show, an attraction in the daily theatre of the pub deserving of higher billing even than the drink and the craic, have vanished in an era where the idea of the pub as a club that anybody can be a member of, that having the price of a pint in your pocket empowers you to lift the latch of the public or saloon bar door and enter a separate world where everyone is, or should be, on their best and brightest behaviour, has itself vanished, and the pub is simply a place to get cheap food and watch top sporting action on a screen probably only a little larger than the one in your own living room.

Thompson does not name the pub that her grandmother ran, saying only that it was “in the rural Home Counties”, but there are enough clues in the book to identify it as the Cross Keys, in the village of Totternhoe, close by Dunstable Downs, and some six miles to the west of Luton. She does not name the pub that her grandmother’s father, John (or Jack) Solomon, had run, either, called in the book “the old pub”, which her grandmother had expected to take over when her father died. But again there are enough clues given to identify it as the Richard III in Castle Street, Luton.

The Richard III, Luton, after its rebuilding in the 1930s, when Violet Solomon would have been working behind the bar

John Solomon has a terrific back-story: he was born in Sidney, Australia, and – or rather, because – his great-grandfather was Isaac “Ikey” Solomon, one of the most notorious criminals and fences in early 19th century England, and the man that Charles Dickens based the character of Fagin on. Ikey Solomon had escaped from custody in London in 1827 and fled to America, but his wife Ann had been found guilty of receiving stolen goods and sentenced to transportation to Tasmania, where she arrived together with several of their children. Ikey learnt of this and travelled to Tasmania himself to be with his family but was eventually arrested by the colonial authorities and shipped back to England for trial. The punishment the court in London imposed, somewhat ironically, was transportation back to Tasmania. Ikey Solomon’s third son, David, who was only nine when his mother was sent to Van Diemen’s Land, settled in Tasmania, and married. One of his sons, Alfred, moved to Melbourne, and then Sydney, before emigrating back to London around 1877, living in Paddington with his family, including the young John, who was aged two. None of that is in The Last Landlady – probably because it doesn’t really fit the narrative, rather than because it’s embarrassing to say “I’m descended from the man who inspired Fagin.” But I’m a journalist, and I love a story that will make readers go “Wow!”, whether it integrates smoothly into the plot or not.

John Solomon is supposed, according to one source, to have “played for Queens Park Rangers in the first year they turned pro,” which would have been 1889, when he was only 14 – no record can be found to substantiate this, though he was living in the right part of London, Paddington, to be a QPR supporter – and to have “spent a number of years as head foreman to a London brewery.” He does, at least, appear to have worked at a brewery, since his occupation is described in the 1901 and 1911 censuses as “beer cellarman” and the industry he worked in as “beer bottling”. He was still living in Paddington in 1914, when Violet was born, the first girl after five boys to John and his wife Alice, who came from Bristol. In October 1916, however, John had the licence of the Richard III in Luton transferred into his name, the existing licensee, Ambrose Holland, telling licensing magistrates that he was now a soldier and his wife was unable to carry on the pub.

The Richard III (still open today, under the name O’Sheas) was originally a row of cottages, converted to a public house in 1846, and was rebuilt by its brewery owner, JW Green’s of Luton, in the 1930s in a very neo-Georgian style, with a red brick frontage extending up above the bottom edge of the roof. By 1939, aged 25, Violet was a manageress there, along with her husband, Charles Ellis, and their five-year-old daughter Josephine, while John Solomon, then 64, was the licence holder. Alice Solomon died in 1943, and with her husband apparently called up into the armed forces and her father now in his late 60s, Violet was effectively, as Thompson calls her, the châtelaine of the Richard III, running the pub on her own. Ellis seems to have disappeared out of the door (he and Violet were divorced in 1944 – Thompson says the divorce took place “just after the war”, but reveals that it was granted on the same day that the actress Jessie Matthews was divorced, which allows it to be dated to the month after D-Day). When her father died in 1952, aged 77, Violet must have had the expectation that the brewery would allow the licence of the Richard III to be transferred into her name. She had, after all, lived at the pub for all but two of her 38 years, and been involved in running it for a fair slice of that time, much of it with only an elderly father to help.

The Cross Keys, Totternhoe no later than 1938, when it was being supplied by Benjamin Bennett’s brewery in Dunstable

However, the brewery would not let her have the licence: according to Thompson, it was because she was a daughter, and not a wife – or a son. It was a knock-back, but strings, apparently, were pulled for Violet by influential friends, and Whitbread’s brewery in London eventually offered her the licence of the Cross Keys, which it had acquired from the owner four years earlier. The pub had literally just been designated a Grade II listed building, on the grounds that it dated from at least the 16th century (claims have been made that it is even older, first appearing in the 1420s), but it was run-down, with no proper bar, no bathroom, no real upstairs floor – the pub sitting room stretched up to the height of the thatched roof – an outside privy and a customer base of ruddy-faced local farmers and dominoes enthusiasts. Whitbread sent the builders in, the sitting room was given a real ceiling, with a bathroom installed above, a bar was built, the “cellar” (actually an outside shed) revamped and thatched to matych the main building, and Violet, “black-haired, bejewelled, bohemian”, installed herself behind the bar, where she would graciously accept whiskies from admirers, surreptitiously tipping them out onto the floor by her stool.

According to Thompson, Violet was “the first woman in England to be given a publican’s licence in her own right, that is to say, as neither a wife nor a widow.” As it happens, the history of the Cross Keys itself destroys this claim. The name of the pub, incidentally, is both easy and difficult to explain. Totternhoe was home for hundreds of years to quarries that dug out the soft local clunch, or chalk, easily worked, which make great building stone for the interiors of churches. Henry I founded the Priory of St Peter, Dunstable, in or just before 1124, and endowed it with, among other riches, the quarry at Totternhoe. The badge of St Peter is, of course, crossed keys. The pub’s sign thus strongly suggests a link with the Augustinian foundation of St Peter in Dunstable, through the priory’s ownership of the nearby quarry. But the priory was dissolved by another King Henry in 1540, and whatever the age of the building it occupies, the pub is first named as such only in 1808, in an advertisement in the Northampton Mercury. Is it credible that folk memory kept the link between Totternhoe and St Peter’s Priory alive for more than 250 years, to give the Cross Keys its name? Anyway, returning to the main tale: by 1824 the landlord was John Clements, who was born around 1799. He ran the Cross Keys for more than 40 years, but by 1871 he was dead, and his eldest daughter Mary, then aged around 37, was listed as the licensee at the Cross Keys. Mary, known as “Miss Clements”, was still in charge in 1890, but by 1902 her younger sister Hannah, then 61, was the licensee. Hannah died “in harness” at the Cross Keys in February 1909, aged 68. So the Cross Keys had female licensees who weren’t wives or widows, but daughters. for a stretch of at least 37 years, almost half a century before Violet.

The Cross Keys, Totternhoe circa 1902-09, when, the sign above the pub door shows, Hannah Clements was the landlady

This is not the only story in the book to make the fact checkers twitch. Thompson says Violet would speak of another pub a few streets away from her father’s:

“The daughter of this pub’s landlord was a few years older than my grandmother, equally attractive although in pure English style. In youth she too served behind the bar, and received the adoration owing to the dauphine; this, however, was not enough for her. She went to London, became a C.B. Cochran chorus girl, married one of the biggest film stars of the day and ended up the wife of an earl.”

This would be Sylvia Hawkes, and the real story is even more spectacular than Thompson’s version. Sylvia was step-daughter (rather than daughter) of the landlord of the Painter’s Arms in High Town Road, Luton from at least 1925, Frank Swainson, and one of the most successful serial brides of the 20th century, married to not one but two of the biggest film stars of the day, as well as a baron, a prince, and, not actually an earl, but the eldest son of an earl.

Sylvia was born, like Violet, in Paddington, in 1904, and worked as a lingerie model in the early 20s, before becoming a dancer in the productions put on by the theatre impresario CB Cochran, starting with the Midnight Follies, and swiftly, beginning in 1924, moving into acting. Despite claims, it is not clear if she ever did appear behind the bar at the Painter’s Arms: one source reckons she “ran away from home at the age of 15”. In 1927 Sylvia made her first marriage, to Anthony Ashley-Cooper, Lord Ashley, eldest son and heir to the Earl of Shaftesbury: it was one of the year’s great scandals, as the Earl and Countess fought to dissuade their son from marrying the actress, threatening to disinherit him and cut off his allowance. The day before the wedding, the Earl was denying that it would take place, while Lord Ashley’s sister was declaring: “Such an alliance is unthinkable. An Ashley-Cooper can never marry a Follies girl.” When a telegram arrived at the Shaftesbury’s 17th century ancestral pile in Wimborne St Giles, Dorset announcing that the wedding would be happening that morning, the earl and countess threw themselves into a limousine and ordered their chauffeur to break all speed limits to get to the church in Knightsbridge, 120 miles away, to try to stop the ceremony. They arrived only in time to see the newly weds leaving the church, to the cheers of a huge crowd, with women, it was reported, fighting to see the bride.

It was also reported that Lord Ashley had been in such haste to organise the marriage that he had not bought a wedding ring large enough to fit his bride, and “was obliged to hold it at the end of her hand, looking rather foolish. This detail does not affect the legality of the ceremony, but superstitious people say it brings bad luck.” So it proved. Less than 18 months after the wedding, Sylvia and Lord Ashley had parted, the actress apparently unhappy with life on a farm in Worcestershire. She moved to Hollywood, as “Lady Sylvia Ashley”, though if she ever made any films there they appear to be desperately obscure. However, she became a big hit with Douglas Fairbanks Snr, one of Hollywood’s superstars, starting an affair with him that led to his separation from his fellow Hollywood star Mary Pickford, in 1933, and Sylvia’s divorce from Lord Ashley the following year. Sylvia and Fairbanks married in 1936, but he died of a heart attack only three years later. The widow Fairbanks then returned to England, where in 1944 she became the second wife of Edward John Stanley, 6th Baron Sheffield, 6th Baron Stanley of Alderley and 5th Baron Eddisbury. That marriage lasted just four years, and Sylvia was back in Hollywood, where in 1949 she married her second movie superstar, Clark Gable: it has been said that she reminded him of his previous wife, Carole Lombard, who had died in a plane crash in 1942. Within three years Sylvia and Gable had also divorced: undaunted, in 1954, Sylvia picked up her fifth wedding ring, marrying Prince Dimitri Djorjadze, a Georgian nobleman, racing car driver, racehorse owner and hotel executive. This time the now Princess Sylvia Djorjadze stayed married until her death in 1977, though she was apparently separated from her new husband within less than a year. She died in Hollywood, and is buried in the Hollywood Forever cemetery. It was a tremendous career for a former Luton publican’s stepdaughter.

A drawing of the Cross Keys from 1942

There are also a few missing facts in The Last Landlady more pertinent to Violet’s story: no mention of the fire at the pub in April 1966, which destroyed the thatched roof and upper storey, nor her second husband, Roy Barrett, who was running the pub with Violet at the time: the pair lived in a caravan in the grounds until the Cross Keys was repaired. Again, like Ikey Solomon, Barrett and the fire are most likely omitted because they would interfere with the flow of the narrative. Never, as journalists like to declare, let the facts get in the way of a good tale.

Because this is a good tale, a great tale, filled with terrific, well-presented anecdotal evidence of how one woman, through her will, her charm and her innate talent as a landlady, turned a run-down rural inn into a PUB in capital letters, a place with personality in every brick and beam – and how the kind of pub Violet ran is evaporating away, doomed, Thompson fears, to disappear:

“The process whereby pubs ceased to be the cornerstone of people’s lives was slow … They were still loved. They still are loved. But gradually they ceased to be intrinsic to society …Without the ballast of unquestioned love, the knowledge that it was wanted, the pub faltered.”

Decline, Thompson says,

“did not begin in the 1980s, yet there was something about that time that was inimical to pubs … It was the aspirational quality that was unleashed by money-centricity, all that Sloane Ranger Handbook and property porn and Filofax-flaunting, which in different form is still with us … Put very simply, the pubs that moved with the times, that acquired wine lists and logos and a matte veneer, became a part of that brighter new world. The pubs that were left behind, that retained their connection to the bench and the sawdust, that for all their roughness remained innocent – they were implicitly the habitat of the unevolved, the victims, those who had failed to aspire … The notion of a pub as a place where people simply congregated, a social hub that did not need to be named as such because nobody would have doubted it, or even thought about it, all this was evaporating.”

This is a thesis that rejects the smoking ban and greedy pubcos as the major causes of the scything down of pubs over the past 30 years, and points instead to deeper changes in society, in people’s needs. It suggests that the pub, as we knew it, is no longer wanted, and ultimately doomed. I wish I could deny this with total confidence.

So what IS the difference between a pub and a bar?

Man walks into a pub – or is it a bar? Is there a difference? Can you walk into any outlet for the retail of alcoholic refreshment on the premises and declare immediately, without discussion, disagreement or deviation: “This is a pub, not a bar!” or, conversely and contrariwise, “This is a bar, not a pub!” Is it possible to draw a line and say: “Everything this side is a pub, and everything that side is a bar“?

If you think this is a meaningless distinction, let me ask you this: does the idea of a list of Britain’s ten best pubs suggest something rather different from a list of Britain’s ten best bars? Would you expect those two lists to be identical? I don’t believe you would.

Note that little of what follows is relevant to anywhere outside Britain, and even in Scotland the line between a pub and a bar will be drawn rather differently, I suspect, than in England and Wales.

All the same, in Britain, I propose, pubs are different to bars, even if, on a Venn diagram, we might see considerable overlap. But how are they different, exactly? We’re not helped much if we try to drag the dictionaries into this argument. The OED defines “pub” as “a building whose principal business is the sale of alcoholic drinks to be consumed on the premises”, and “bar” (in the sense larger than merely “counter”) as “an establishment where alcohol and sometimes other refreshments are served.” There’s a small clue as to possible differences between pubs and bars in those almost identical definitions: a pub is “a building”, a bar “an establishment”, hinting that a bar as a separate business need not be occupying the whole of the building in which it is found. But Merriam-Webster, giving an admittedly transatlantic take on the meanings of the two words, refuses to be quite so nice: a “pub”, it says, is “an establishment where alcoholic beverages are sold and consumed”, a “bar” is “a room or establishment where alcoholic drinks and sometimes food are served”. OK, it looks as if the heirs of Noah Webster think a pub can’t be just a room, though a bar can be: but they seem to allow that a pub does not have to be a separate building. Apart from that, little difference.

The Teddington Arms, Teddington: only a pub since 2003, it was previously restaurant and, before that, a tyre depot. Its serving bar is at right angles to the road, but it has a pubby name: is it a bar or a pub?

To me, however, there is one simple test that will tell you probably 90 per cent of the time whether you are in a pub or a bar as soon as you walk through the door: where is the counter at which you stand to be served? If it’s in front of you, against the far wall, you’re in a pub. If it’s to the left or right of the entrance, at right-angles to the front of the building, you’re probably in a bar. This basic difference springs from the different origins of pubs and bars. Pubs come from the “dwelling house” tradition, where the building, often originally someone’s home, is likely to be shallower in depth than it is wide, and the longest orientation is parallel with the road or street. Thus to maximise the length of the serving area, the bar-counter runs across the back. Bars come from the “shop” tradition, where the building is more often deeper than it is wide, to maximise the number of frontages along the street. Thus the greatest length of bar-counter is achieved by running it down one of the side walls.

The former Red Lion in Twickenham, an example of how a pub can become a shop

Of course, there are very many occasions when you’ll know without having to think very hard whether you’re drinking in a pub or a bar: if it’s a stand-alone building that looks as if, without much alteration, it could be turned into a home, it’s a pub. If it’s in a shopping parade, it has huge plate-class windows and it could easily be turned into a Starbucks or Costa, it’s a bar. But the rise of the micropub movement means it’s now less easy to declare definitively: “Pubs are descended from houses, bars are descended from shops.” Many micropubs have been converted from disused shops. Should we call them “microbars” instead? And come to that, many disused pubs, most of them stand-alone, have been converted into shops.

Interior of an Alehouse, oil painting by James Ward, 1769-1859: a converted home

Not that it’s entirely true to say without elaboration that “pubs are descended from homes”. The pub as we know it today is essentially of 19th century origins, born of a four-way mating between the alehouse (strictly for locals and regulars; mostly working class; mostly rural/semi-rural, or backstreet urban; most likely to have started as somebody’s private home), the gin palace (strictly urban; showy; for both locals and strangers, working class and middle class; most likely to have been deliberately built as an outlet for drinking by a developer or entrepreneur), the tavern (High Street urban; middle class; food-oriented; original uses varying from drinking outlets attached to religious establishments to cookshops to wine retailers) and the inn (rural or urban; on a main road; mostly for travellers and occasional visitors; food important; origins in farmhouses, if rural, and private homes, if urban).

Interior of an inn circa 1800: note the bar constructed in what was obviously roriginally a farmhouse kitchen

Pubs developed to cater for a broad swath of society but still, until the 1970s, kept a strict class divide between different parts of the same building, with different rooms for different social groups, so that the working class, those who had earlier gone to the alehouse would now frequent the public bar, while middle-class drinkers, those who would once have drunk in the tavern, had taken up seats or stools in the saloon bar. But with this amalgam of different traditions, the pub architect Ben Davis said in 1961, arrived what he called “pubness”. Three of the elements of “pubness”, Davis suggested, came from the inn: a home-like character; a personal sense of welcome; a sense of permanence and continuity. Two, Davis said, came from the tavern: “an accent on good-fellowship”, by which he meant, I think, something folded into the concept the Irish spell “craic”, the idea that taverns (and pubs) are places for conversation and the enjoyment of others’ company; and “a decided affinity with Christian traditions and principles”.

Though I was brought up going to Sunday School, and with hymn singing and prayers every term-time morning before classes for 13 years of primary and secondary education, I’m not entirely sure what Davis was trying to say here: possibly that every man is equal in the eyes of the (land)lord, more likely that in the tavern (and pub) all should strive to follow the Golden Rule (the name of an excellent hostelry in Ambleside, Cumbria), that is, treat others as you would wish to be treated: “Love thy neighbour as thyself.” Acknowledge your fellow pub-goer’s right to space, to consideration, and to get served at the bar before you if he was there first.

I’m in with the inn crowd … the Golden Cross inn, Charing Cross, London in 1828

Are there any of those elements of “pubness” you won’t find in a bar? It would be a very poor bar that did not have an atmosphere that included a sense of welcome and “good-fellowship”, and which oozed hostility between drinkers. But while “a sense of permanence and continuity” is not at all essential in a bar, it helps make a pub feel like a “proper” pub: the reason why the Jerusalem Tavern in Clerkenwell is so popular is because, although it is only 22 years old, it looks inside and out like a genuine 18th century establishment. (The serving bar at the Jerusalem Tavern, as it happens, is at right-angles to the street, just to show me up.) In the New Town where I grew up, all the estate pubs had been built to look like New Town homes on steroids, following the “pub as a home from home” idea, but their newness stripped them of any of the “sense of permanence and continuity” that all the pubs in the Old Town had dripping from every brick and beam, and they felt like zombie pubs, lifeless and without character. A bar, in contrast, never feels “homey”: indeed, I’d suggest that the slightest pinch, jot or iota of “a home-like character” turns a bar into either a pub or a teashop.

Pubs have regulars; bars only have customers, generally. Bars have owners, or managers; pubs can have managers, but they are often better when they have landlords, publicans or tenants, names that suggest a more proprietorial relationship with the establishment. Bars are run by people called Kenton; pubs are run by people called Sid (although this can change). Pubs have dartboards, meat raffles and piles of coins stacked up on the bar that will be pushed over by a minor celebrity one well-attended evening just before Christmas, to raise money for a local charity: these are part of “pubness” because pubs are rooted in communities in a way bars are not. Bars are places you call in to on your way home from work; pubs are places you go out to after you’ve got home from work.

The porter brewer and the Peterloo Massacre

The 200th anniversary next year of the “Peterloo Massacre”, the assault by mounted troops on a crowd gathered in Manchester to hear speeches in favour of parliamentary reform, has been marked by the release of a film by Mike Leigh starring Rory Kinnear as Henry “Orator” Hunt, the main speaker at the meeting in St Peter’s Field, whose arrest by the authorities sparked the events that led to at least 15 people being killed. Rory thus joins the short list of people, including Bob Hoskins, who can be the answer to the question: “Which actor has played a brewer on screen?”, since for a couple of years Hunt ran a brewery in Bristol – an episode which is significant in the history of porter, since Hunt’s memoirs contain some important evidence on porter brewers’ attempts to make a dark drink while brewing with the far more economic pale malt.

In April 1802, a month after the Treaty of Amiens had ended 10 years of warfare against revolutionary France, the British government put up the tax on strong beer by 25 per cent, to 10 shillings a barrel, and raised the tax on malt by almost four fifths, to 2s 5d a bushel. At the same time, the Act of Parliament introducing the higher taxes, the Duties on Beer, etc Act 1802, also put into statute law a specific prohibition against making beer or ale with anything except malt and hops.

Henry Hunt pictured speaking to the crowd in St Peter’s Field, Manchester: from Cassell’s Illustrated History of England, 1864

Matthew Wood, a City of London-based druggist (and, from 1804, hop dealer) with a clientele of brewers decided that since it was now apparently legal to put anything made from malt into beer, then a colouring made from malt extract should be permissible, and in May 1802 he duly registered a patent process for “Preparing a colour from malt for the purpose of colouring spirits wines and other liquors.” The fact that Wood’s patent application, which described mashing the malt, boiling the extract until most of the water was driven off and then roasting it in iron pans “until the saccharine quality is destroyed, and the whole is nearly reduced to a calx,” did not mention beer specifically may be because he did not want to tip off anyone too early that he was attempting to patent something that the Excise authorities had long declared was against its regulations. He invested £2,000 in the patent, apparently having been given a guarantee from the senior Secretary to the Treasury, Nicholas Vansittart, that his malt colouring would be regarded as lawful, since it used an ingredient, malted barley, upon which tax had been paid.

The Commissioners of Excise disagreed. They instigated prosecutions and seizures of casks of porter colouring materials against brewers who bought Wood’s product, on the grounds that they were adding an illegal adjunct to their porter. The excise commissioners insisted that the “malt” that the Duties on Beer Act 1802 had defined as one of only two permitted ingredients in beer and ale meant only those products customarily made by maltsters, not Wood’s patent colouring. Allowing druggists to supply brewers with beer colouring would “open the widest Door for introducing Ingredients forbidden by Law,” they declared. However, the brewers, and Wood (who became a City of London alderman in 1807), fought back, with the colouring continuing on sale.

Henry “Orator” Hunt, the radical politician who was the main speaker at the meeting in Manchester in August 1819 that turned into the “Peterloo Massacre”, had a run-in with the revenue over Wood’s colouring in 1808. Hunt ran a brewery at Jacob’s Wells in Bristol, the Clifton Genuine Beer Brewery, from at least 1807 to 1809. It had been started when a brewer friend called Racey – evidently the son son of the James Racey whose brewery in Bath went bust in 1804 – asked Hunt to put up the money to convert a former distillery at Jacob’s Well into a brewery. Hunt claimed he had designed the whole layout of the brewery himself:

I took advantage of the declivity of the hill, on the side of which the premises were situated, to have it so constructed that the whole process of brewing was conducted, from the grinding of the malt, which fell from the mill into the mash-tun, without any lifting or pumping; with the exception of pumping the water, called liquor by brewers, first into the reservoir, which composed the roof of the building. By turning a cock, this liquor filled the steam boiler, from thence it flowed into the mash-tun; the wort had only once to be pumped, once from the under back into the boiler, from thence it emptied itself, by turning the cock, into the coolers; it then flowed into the working vats and riving casks, and from the stillions, which were immediately above the store casks into which it flowed, only by turning a cock. These store casks were mounted on stands or horses, high enough to set a butt upright, and fill it out of the lower cock; and then the butts and barrels were rolled to the door, and upon the drays, without one ounce of lifting from the commencement of the process to the end. This was a great saving of labour.

However, according to Hunt, Racey turned out to be fraudulently raking off cash from the brewery, and when challenged he “sailed for America, bag and baggage”. (It seems highly likely that this is the James Racey who married Anne Hull in New York in 1810 and then settled in Canada, buying the distillerie de Beauport just to the east of Quebec City the same year, and converting it to a brewery.) Hunt found himself having to run the brewery in an attempt to get back at least some of the money he had invested, and described his subsequent clash with the Excise over Wood’s colouring in his memoirs, written while he was in jail in 1820 for “sedition” after the events at St Peter’s Field:

When the act was passed, making it a penalty of two hundred pounds to 
use any drug, ingredient, or material, except malt and hops, in
 the brewing of beer, Alderman Wood obtained a patent for making of 
colouring, to heighten the colour of porter. This colouring was made of 
scorched or burnt malt, and it was mashed the same as common malt, which 
produced a colouring of the consistency of treacle, and having nearly its appearance. As this patent was very much approved of, almost every 
porter brewer in England used it in the colouring their porter; and 
amongst that number I was not only a customer of the worthy alderman for 
colouring, but I was also a considerable purchaser of hops from the firm of Wood, Wiggan [sic—properly Wigan] & Co in Falcon Square. I had just got down a fresh 
cask of this colouring, and it was standing at the entrance door of the 
brewery, where it had been rolled off the dray, when news was brought me
 that the new exciseman had seized the cask of colouring, and had taken 
it down to the excise office. I immediately wrote to Wood, Wiggan & Co to inform them of the circumstance; upon which they immediately applied 
to the board of excise in London, and by the return of post I received 
a letter from Messrs Wood, to say, that an order was gone off, by the 
same post, to direct the officers of excise in Bristol to restore the
 cask of colouring without delay; and almost as soon as this letter had 
come to hand, and before I could place it upon the file, one of the
 exciseman came quite out of breath to say that an order had arrived from the board of excise in London, to restore the cask of colouring, and it
 was quite at my service, whenever I pleased to send for it. I wrote back 
a letter by the fellow, to say, that as the exciseman had seized and 
carried away from my brewery a cask of colouring, which was allowed by 
the board of excise to be perfectly legal to use, as it was made of malt and hops only, unless, within two hours of that time, they caused it to be restored to the very spot from whence it was illegally removed, I would direct an action to be commenced against them. In less than an hour the cask of colouring was returned, and the same exciseman who had seized it came to make an apology for his error. His pardon was at once granted, and so ended this mighty affair; and I continued to use the said colouring, as well as did all the porter brewers in Bristol, without further molestation, as long as I continued the brewery; never having had any other seizure while I was concerned in the brewery.

Flyer put out just before the Peterloo Massacre by Henry Hunt’s political enemies

The story appears in Hunt’s biography because he was responding to an attack on his brewing career by one of his political enemies, Dr John Stoddart, the editor of the “ultra-Tory” New Times newspaper, in an article in July 1819, just before Peterloo. The newspaper claimed that despite Hunt advertising in the Bristol Gazette in January 1807 that his beer was “wholly exempt from any other ingredient whatever” than the best malt and hops, “a very few months after the date of the above advertisement, seventy gallons of other ingredients were seized from Henry Hunt of ‘the Clifton Genuine Brewery;’ and were condemned in Michaelmas Term 1807.” The result of “this awkward little accident”, the New Times claimed, was that it “gave the Bristol men a sort of distaste for Hunt’s genuine beer … and the consequence was that he shut up his Brewery.” The New Times’s attack was reprinted word-for-word by more than a dozen other local newspapers of the Tory persuasion, from Inverness to Cornwall, the following month, after Peterloo, and turned into a pamphlet circulated in Manchester.

Curiously, 11 years earlier Hunt had given a completely different version of the story to his local paper. He had already made himself unpopular with the establishment in Bristol in 1807 when he popped up at the hustings for the general election that May and attempted to interrupt the cozy stitch-up of the city’s two parliamentary seats by the Tories and Whigs by nominating a third, more radical candidate. When his bid to put another name on the list was refused Hunt’s supporters pelted the Tory candidate “so vigorously with mud and sticks that he was forced to leave his gilded car and beat a retreat.” The mob was only diverted, it was claimed later, by Hunt offering to distribute two free butts of beer at his brewery. In 1808, replying to an accusation that “unlawful ingredients” had been seized upon his brewery’s premises, Hunt said:

When the last act of parliament passed, prohibiting the use of “any ingredient or material. except malt and hops, to be made use of tin the brewing of beer or porter,” Messers Wood, Wigan and Co hop-factors, in London, obtained a patent for making a colouring for Porter with burnt malt only. Two casks of this Colouring was [sic] sent to me, but before I admitted it into my brewhouse, I sent to the Exciseman to know if it were legal to make use of it for colouring porter, shewing him the permit or certificate that I received with the casks. His answer was, he did not know, but he would go to the supervisor and enquire. On his return, he said that they had no authority to permit it to be used, and they must take a sample of it. I desired that they would take the whole, as I should not, under such circumstances, suffer it to be placed in my brewery: my horses took it for them to the Excise-office. I immediately stated the case to the Commissioners of Excise, from whom I received no answer. Mr Wood’s patent colouring has never been returned to me, nor have I since heard any thing of it.

Whichever story of Hunt’s was accurate, it is clear Wood’s beer colouring was still not definitively legal even in 1808. The brewing trade was evidently split over whether Wood’s colouring should be supported or not, with the largest porter brewers, such as Whitbread, Barclay Perkins and Felix Calvert, opposed, apparently for fear that allowing sugar and malt colouring would take some of the pressure off their smaller rivals, and others, such as Meux Reid and the big Windsor brewer John Ramsbottom, in favour. The battle was fought in parliament, where the porter brewers had eight MPs at the time and the country brewers four, but victory for the colourists only came with an alliance with the West Indies sugar plantation interest, who were keen to find a new outlet for their product (and helped by the Treasury, which wanted to see more pale malt used, as this was apparently easier to supervise by the excisemen than brown malt, and thus less likely to avoid tax). In June 1811 an Act was passed allowing the colouring of porter (but not ale or pale beers) with “burnt brown sugar and water” (but not molasses), with a licence to make porter colouring costing £5 and duty charged on each barrel of colouring of 10s a time.

Troops striking out at the crowd, as the authorities over-react during the 1819 political meeting at St Peter’s Field, Manchester

The Colouring of Porter Act lasted just half a decade before it was repealed and a new Act passed, in June 1816, banning even burnt sugar from being used for colouring beer from July 6 the following year. Licence fees and duty from burnt-sugar colouring had brought in £82,000, but the excise authorities declared that there was evidence that other illegal ingredients were being sneaked into porter along with the colouring. Cometh the hour, cometh the inventor: in March 1817, four months before burnt sugar colouring became illegal, Daniel Wheeler, who had been making sugar colouring at his premises off Drury Lane in central London, unveiled via a patent application a new method of manufacturing colouring from malt, upon which duty had been paid (thus making the colouring legal). His process heated the malt to 400ºF and more, to produce “a substance resembling gum and extractive matter of a deep brown colour readily soluble in hot or cold water.”

Wheeler told the 1818 House of Commons committee on the quality of beer that with brown malt, “thirty-two parts of it to forty-eight of pale,” or 40 per cent, “gives about the porter colour.” However, “The high-dried brown malt, from the heat to which it has been exposed, has lost a considerable quantity of its sugar. I have made many experiments upon it myself, and … that high dried malt will not produce, or has not, from any experiments, produced more than one fourth of the spirits compared to that of pale malt.” Using his invention, though, “one part of the patent malt will give as much colouring as thirty-two parts of the malt I have been speaking of” – in other words, brewers needed less than 2½ per cent of Wheeler’s patent malt to give a satisfactory colour to their porter.

Dr Thompson’s Annals of Philosophy for December 1817 declared of Wheeler’s invention: “There are few patents that promise to be of such great national importance.” To get the “deep tan-brown colour” and “peculiar flavour” of “the best genuine porter,” two parts of brown malt were required to three parts of pale malt. “The price of the former is generally about seven-eighths of the latter; but the proportion of saccharine matter which it contains does not, according to the highest estimate, exceed one-half that afforded by the pale malt, and probably on an average scarcely amounts to one-fifth…it follows that the brewers are paying for the colour and flavour of their liquor one-fifth of the entire cost of their malt.” The savings that brewers could make with Wheeler’s patent malt meant the end of temptations to use illegal materials such as cocculus indicus, and “The revenue will be benefited by the increased consumption which will necessarily result from an improvement in the quality of the porter; and both the revenue and public morals will derive advantage from the greatly diminished temptation to fraudulent practices.”

The big porter brewers quickly took up his invention, with Whitbread recording stocks of patent malt in the same year, 1817, and Barclay Perkins by 1820 (though curiously, in 1819, Rees’s Cyclopedia claimed that “In Mr Whitbread’s works no colouring matter is employed, as he uses a portion of brown malt”), and the Plunkett family opening a plant in Dublin in 1819 to supply Irish porter brewers. But alas for Wheeler, his patent was swiftly challenged. A coffee roaster based in Northumberland Alley, off Fenchurch Street, in the City of London called Joseph Malins began roasting malt himself and selling it to “various” brewers for colouring, to the “considerable injury” of Wheeler’s business. Wheeler sued Malins for patent infringement and the two sides clashed in the Court of Chancery in August 1818, with Wheeler claiming his patent had been “pirated” and Malins insisting that there was no piracy, since the brown malt he sold to porter brewers had been heated in “a common coffee-roaster,” which had been in use for more than a century before Wheeler’s patent.

Unfortunately for Wheeler, the case was bumped to a higher court, the Court of King’s Bench, to decide whether his patent was actually valid, and at a hearing in December 1818 the newly appointed Lord Chief Justice, Sir Charles Abbott, directed the jury to find that it was not. Wheeler’s patent application had been for “A new and improved method of drying and preparing malt.” But, Abbott said, the process the application described was not, in fact, “preparing” malt, it was a process for making malt more soluble and colouring the liquid. With the patent declared void, in March 1819 Wheeler’s case in the Court of Chancery was dismissed with costs.

The victory over Wheeler was a welcome win for the Malins family in the courts: in May 1818 Joseph Malins’s father, William, had been fined £100 by the Court of Exchequer for having on his premises more than 1,500lb of roasted and ground peas and beans with the intention of passing them off as coffee, and a month later William was fined the huge sum of £2,000 by the same court after being found guilty of manufacturing 100lb of imitation tea, from hawthorn and blackthorn leaves plus colouring, and selling it to grocers in London. Daniel Wheeler continued to describe himself as a “patent malt manufacture,” though by January 1819, when he had moved from Bloomsbury in central London to Croydon in Surrey, he had been declared bankrupt. Cheekily, perhaps, William Malins was calling himself an “anti-patent malt maker” in 1823, when he was based in Upper Fore Street, Lambeth.

Kent’s directory of London, 1823

However, although Wheeler was unable, as he must have hoped, to turn “patent malt” into a personal fortune, its adoption did indeed swiftly revolutionise the brewing of porter, as the use of brown or blown malt shrank or disappeared. (Ironically, malt roasted to Wheeler’s specifications continued to be known as “patent” malt for more than a century, even though the patent had been overturned.)

Sale notice for Hunt’s brewery, Bristol Mirror, December 31 1808

Hunt, meanwhile, left the brewery business in 1809, ten years before Peterloo. By 1811 the brewery at Jacob’s Wells was being run by a J Highett from Weymouth, who was brewing strong beer, porter, Burton ale and table beer. It was up for sale early the next year, and again in 1813, when the equipment included “a new copper furnace, containing 20 barrels, never used.” It seems to have had several subsequent owners, but by early 1827, when the site was put up for sale, it was being described as a “late Brewery”.

How I ended up being the only English beer writer at the launch of a US-Norwegian imperial porter collaboration

The collaboration beer, with label designed by Håkon Gullvåg

I wasn’t even mean to be in Brooklyn on the Tuesday. I had originally booked to go round the Brooklyn brewery on the Monday. But after I announced that I was going to be in New York, I was contacted by the American beer journalist and writer John Holl, who asked if I would like to appear on the beer podcast he co-hosts, “Steal This Beer”, which is recorded in a bar in Manhattan on Monday nights (of which more later.) So I switched the trip to Brooklyn to the following day – and on the Tuesday morning an email popped up saying that right after my visit that evening the Brooklyn Brewery was launching a collaboration imperial porter made with the Norwegian brewery EC Dahl’s, in honour of the Norwegian artist Håkon Gullvåg, and would I like to hang around to sample that, and a few other EC Dahl’s beers as well.

Carpe cerevisiam – if chance is going to put an opportunity like that in your path, it’s rude to step aside. Strangely, I had already drunk beers made with EC Dahl’s yeast: the homebrewers of Stjordal, whose brews were among those I sampled last year at the Kornøl festival in Hornindal in Western Norway, get their yeast from the Dahl’s brewery in Trondheim, though they make, and sometimes smoke, their own malt.

I have to own that the Brooklyn Brewery tour is not the best I have been on: it’s a small, cramped, working brewery, about all you get is a quick look at some fermenting vessels and some beer sampling, and most of the beer is produced elsewhere anyway. There’s a good big brewery tap, with a fine range of beers (including “London Black Gose” [sic] from London Fields, which, like EC Dahl’s, is a Brooklyn Brewery/Carlsberg joint venture now) and the brewery shop sells several rare (if expensive) beers, but if it hadn’t been for the EC Dahl’s launch, I might have had a disappointing trip.

That, however, was definitely worth the journey. The collaboration beer, named, simply, Gullvåg, had been matured in casks that had previously been used for Linie aquavit. I’m a big fan of Linie, which is matured by being shipped in ex-sherry casks from Norway to Indonesia and back, the four-month journey, crossing the equator twice, rounding and maturing the spirit, which is made from potatoes and flavoured with, among other herbs and spices, star anise and caraway. It has a flavour that seems to match very well with beer – one of my favourite long summer drinks is a mixture of dark ale, lemonade and a shot of Linie. The Linie influence was definitely noticeable in the Gullvåg imperial porter: liquorish/aniseed underneath the dominant dark roast. If you see it, definitely worth buying.

Garrett Oliver, right, of Brooklyn Brewery and Wolfgang Lindell, centre, brewmaster of EC Dahl’s brewery in Tromsø, discuss their collaboration brew in honour of the artist Håkon Gullvåg, with some of Gullvåg’s paintings on cask ends in the background

And then, while I was enjoying the beer, and admiring the paintings on the taproom walls that Håkon Gullvåg had created on old cask ends (you could still, just, make out the names of the distillers on some of the casks), someone cried: “Martyn!” Stap me, it was Steve Hindy, co-founder of Brooklyn Brewery. I didn’t know he knew me from a hole in the floor, but I worked out later that we must have met on one of the Carlsberg trips regular readers of this blog will remember. “Would you like a beer?” he said, and you don’t turn down a man in his own brewery: nor do you have to wait long to get served, whatever the queue, since the brewery chairman can just walk round behind the bar and help himself, while the servers smile benignly.

The only awkward moments were when Steve asked me if I had spoken to Garrett Oliver yet. I’m still not sure Mr O, brewmaster at Brooklyn Brewery, has forgiven me for my attack seven years ago on the Oxford Companion To Beer, which he edited, because of its very many errors. I always tried to make it as clear as I could that I did not blame Garrett, whom I admire greatly as a brewer and a writer and speaker about beer, for the problems with the OCB. He was badly let down by the publishers, left seriously under-resourced, and also let down by a tiny minority of the 140 or so people who wrote entries for the book that were seriously badly researched. So I had deliberately stayed out of his way –and yes, that IS a wide yellow streak up my backbone. Still, we had a reasonably friendly conversation, I think, about how the Kornøl festival is a must-visit event: watch out for Brooklyn Brewery brewing with kveik some time soon …

About all visitors get to see of the interior of the Brooklyn Brewery

That was the second embarrassing moment on my first trip to New York (yes, shameful: not sure why I had never got there before). John Holl had asked me to bring along two beers to the podcast, since a regular part of the show is John and his fellow presenter, the New Jersey brewer Augie Carton, blind-tasting beers their guest brings along, using the black glasses of the kind breweries use professionally for tasting sessions, so that colour cannot affect opinion. I decided to bring them over two different views of British best bitter: the very traditional Timothy Taylor’s Landlord, and one from my local small brewery, Twickenham Fine Ales’ Naked Ladies, which is a “best bitter” with one or two American hops in it, for a more up-to-date take. Unfortunately it was obvious straight away that the Tim Taylor’s was skunked. Ach. Still, Augie and John are pros, and were able to find plenty to say even about skunked Landlord. And they liked the Naked Ladies a lot, though they were dubious about the name, nor were they convinced by my explanation that the Naked Ladies are a much-loved set of statues in a Twickenham park. (You can listen to the podcast here – episode 187.)

I

Earl’s Beer and Cheese on Park Avenue: they had me at ‘beer and cheese’ Loved the booths you can just see through the doorway …

had asked people for suggestions of bars to visit in New York, but I didn’t get round very many: busy doing other things. Part of the aim for the trip was to look at old newspapers in New York library: while the British Newspaper Library’s holdings can be accessed anywhere, for a lot of early American titles, particularly those before 1776, and even more particularly those from New York before that date, you have to be physically in front of a computer screen in one of the Five Boroughs to get to call them up. Still, it did also give me the opportunity to see the original Winnie the Pooh, who lives with Tigger, Eeyore, Piglet and Kanga in a glass box in the children’s section in the main New York library building on Fifth Avenue: you have to go to the children’s library to pick up your library card (I have no idea why), so it didn’t look too creepy that an elderly bearded git was hanging around the kids’ books. I had always imagined that Christopher Robin’s toys would be in a big mahogany-and-armoured-glass case in the centre of a huge high-ceilinged room, possibly with a couple of armed guards in black uniforms looking suspiciously at people taking selfies with the Immortal Bear. In fact it’s a comparatively small display, and I’ve seen bigger children’s libraries in provincial English towns than the one in the Schwarzman.

Lots of NEIPA in NY

Something called the “New York craft beer festival” was happening my first two nights in the city, so I thought that would be worth checking to try to see what was trending. Sour beers, no surprise; lots of cloudy IPAs, no surprise; wacky fruit goses and similarly wacky saisons (hibiscus?), no surprise; cider, that WAS a surprise; cucumber beers – utterly, utterly vile; double dry-hopping, very much a trend of the moment, for sure, even if every brewer you might speak to has a different take on what double dry-hopping involves (one bar I did get to was the Blind Tiger on Bleecker Street, and every other beer on tap seemed to be “DDH”); and surprise, no “brut” IPAs, which I had been expecting to see, having read that they were a big trend: I didn’t spot one the whole week. I’m ashamed to say that one of the beers I enjoyed most was Sweet Baby Java, an “espresso bean infused chocolate peanut butter porter” from DuClaw Brewing in Maryland, a coffee’d-up version of the same brewery’s Sweet Baby Jesus chocolate peanut butter porter. Normally I don’t like “dessert” beers, particularly – PARTICULARLY – with peanut butter, but DuClaw seemed to have matched the sickly with a pleasing dryness: a check on the brewery’s website reveals that the hops here are Fuggles and Goldings, which may explain all. However, that was in the usual US beer festival two-ounce glass: even a third of a pint might have had me considering my verdict.

One minor beerfest hiccup: as I presented my ticket on the first night, the very large security dude at the door insists on seeing my ID. While I fished for my UK driver’s licence, I said something about my false bead being the giveaway, to which he responded with the line I’m sure he was taught was the correct response to all surly old gits cutting up about being asked to prove they genuinely were as old as they looked: “I respect my elders, sir.” I really, really wanted to say: “No you clearly don’t, or you and your employers wouldn’t be putting me through the ludicrous nonsense of having to prove I’m not actually a terribly haggard 20-year-old.” But as Paul Simon sings, “the man was large, a well-dressed six-foot-eight,” and I needed that wristband

Why, nearly 50 years after the birth of Camra, can I still not be guaranteed a decent pint of cask beer in most pubs?

Why is finding a properly kept pint of cask ale such an appalling lottery in Britain’s pubs, despite the existence since 1971 of a consumer organisation dedicated to beer quality – before most pub staff were born – and the existence of a trade organisation dedicated to raising the standards of draught beer, Cask Marque, since 1998, two decades ago?

The answer is actually ridiculously simple. Almost nine out of ten pints of cask beer sold in Britain are sold after the cask they came from has been open for at least three days. According to CGA, almost 90 per cent of cask ale brands sold at below the rate of 18 pints per tap per day required to maintain quality. The typical cask of beer is still on sale seven or more days after it has been opened. This is exactly the same as making a sandwich on Monday, and still having it on sale a week later. The bread will be stale, the filling long past its best. Anybody buying that week-old sandwich is unlikely, after trying it, to buy a sandwich from you again. Cask beer is a perishable product: it loses its best qualities very quickly, certainly within a few days. Most pubs ignore this, and as a result most cask beer is sold a long way off from peak condition.

Paradoxically, there is also a big problem of pubs selling beer too young. Almost three in five publicans confess to putting beer on sale before the recommended three days of cellar conditioning. So there is a fair chance that just as your pint is finally coming into condition, it’s already past its best because the cask has been open too long.

Adding to the problem of poor quality caused by age, the evidence clearly shows most pubs keep their cask beer too warm. This is obviously more of a problem in summer, but cellar air conditioning has been available for many decades: that picture at the top shows a pub cellar from 1947, with aircon units. However, in July this year, Cask Marque found that almost seven out of ten pints of cask ale were served warmer than the recommended 11ºC to 13ºC. Two per cent were served at an alarming 20ºC – almost 70ºF. How is this possible?

Hilariously – or not – more than 90 per cent of pub landlords insist that they are aware of the advise on how to keep cask beer well, advice which strongly recommends arranging turnover so that a cask is emptied within three days, and they claim either that they do their best to follow that advice or don’t actually need it because they are expert cellarmen. And two thirds of landlords insist their cask ales never stay on sale for longer than three days. Unfortunately, the evidence shows clearly that this is totally untrue. Vianet, a company that monitors what happens in pub cellars, found that the majority of pubs sell less than a cask of beer per tap per week. Let’s be generous and say that half of each cask is sold within the recommended three-day period after the first pint is poured. That means half of all pints from the majority of pubs are going to be four days older or more. Would you reckon to buy a sandwich from a place where half the sarnies on offer were between four days and a week or more old?

One underlying reason for all these problems is that too many publicans are either indifferent to or don’t like cask beer. To quote Pete Brown, in the latest Cask Report, out yesterday, “Among publicans who love drinking cask themselves, every single quality measure is significantly better.” Perhaps we should be saying: “If you don’t actually adore cask beer, please don’t sell it.”

In the past five years, cask ale sales have dropped by 20 per cent, while the overall beer market has fallen by just over nine per cent. At that rate of decline, cask ale will effectively have vanished in a few decades. Meanwhile “craft” beer, defined for the purposes of this argument as non-mainstream keg beers made by small brewers, has leapt from nowhere ten years ago to six per cent of the on-trade beer market in 2018. I drink “craft” beer in a pub occasionally, but I do not believe I will ever have a pint of “craft” as wonderful as the very best cask ale can be. If cask ale disappears, then to misquote Hilaire Belloc, drown your empty selves, for you will have lost the best of England

The Cask Report has a number of tips to try to stop this apocalyptic scenario. Here are mine:

1) Every pub or bar that sells cask ale must have a cask ale champion whose specific job it is to ensure that every pint is perfect. If this is not the publican, it should be someone else senior.

2) Every pub company, too, must have someone in the organisation to champion cask beer and ensure every outlet is selling the best cask ale it can.

3) Pubs should be taught that a big range of different cask beers on sale at the same time is not automatically a bonus, but a likely contributor to quality problems.

4) Before any pub gets Cask Marque accreditation, it should be able to show a record of how long every cask beer has been on sale, and also a record of every customer complaint about the quality of a pint, and what action was taken about that complaint. Pub companies should also regard this as best practice.

5) If “craft” drinkers are avoiding drinking cask because they perceive it to be all “boring brown bitter”, pubs should urge “craft” beer drinkers to try those modern cask beers closest in flavour to the most popular sorts of craft ale – American pale ales and the like. Then use those beers as a gateway to the joys of traditional cask ales. Staff need to know enough to be able to explain that, actually, the earliest American Pale Ales were directly inspired by Timothy Taylor’s Landlord.

6) Camra members over 65 (and yes, I fall in that segment) should STFU about how awful Doom Bar is, and should be taken behind a wall and shot in the head if they utter the phrase “Remember Watney’s Red Barrel!” Nobody except you DOES remember Watney’s Red Barrel, grand-dad, and it’s the image you and people like you bring to cask ale – slippered, cardiganned, smelly – that is part of the reason why under-30s would rather drink “craft”.

The Tipperary, Fleet Street: It’s a Long, Long Way from Accurate History

The Tipperary, in Fleet Street, has a fair claim to “oldest pub in London” status. You wouldn’t know this from the information you will find about it on the web, in books and magazines, and even the noticeboard outside the pub, which makes much of its storied past. Unfortunately, almost everything written about the history of the pub – including, shamefully,  that noticeboard – is wildly, utterly wrong, a staggeringly inaccurate macedonie of untruths, misunderstandings, made-up nonsense, fake news and pure bollix of inexplicable ancestry. What is particularly tragic is that the pub actually has a fine back-story, which has become entirely submerged by layers of invented garbage.

Let’s begin by deconstructing the noticeboard that hails customers as they enter this charming, if cramped, old Fleet Street boozer, with its delightful, slightly shabby shamrock-decorated mosaic floor and dark wood-panelled walls. (We’ll ignore, as much as we can, the grammatical infelicities and spelling errors on the board, though they constitute in themselves a grievous insult to the hundreds, or more, of newspaper sub-editors who, in the times of Fleet Street’s glory as more than just a metaphor for Britain’s national press, walked through the Tipp’s front door in search of liquid relief.)

“The pub was built on the side [sic]of a monastery which dated to 1300 where, amongst other duties, the monks brewed ale.” – it was a friary, not a monastery. They were friars, not monks. A house for the Carmelites, more fully the Order of the Brothers of the Blessed Virgin Mary of Mount Carmel, was founded by Sir Richard Gray in Fleet Street in or about 1241, not 1300. (The Carmelites, as an aside, originated in the 12th century, and took their name from Mount Carmel in northern Israel, supposedly the home of the prophet Elijah. They were known as the “white friars”, from the white cloaks they wore, in contrast to the black-cloaked Dominicans, the “black friars”, whose main base in London was just across the Fleet river, and whose name is commemorated in a bridge, a railway station and one of the finest art nouveau pubs, inside and out, in the world.)

“This site was an island between the River Thames and the River Fleet which still runs under the pub that is now little more than a stream” – utter steaming garbage. The Tipperary is half-way up the hill that rises from what was once the west bank of the Fleet, which was 250 yards away to the east, not “under” the pub at all. The Fleet ran south along the line of what is now Farringdon Street – indeed, it still does, though now underground and converted into a sewer, which empties into the Thames under Blackfriars Bridge.

The Tipperary, 66 Fleet Street, one of London’s three or four oldest surviving pub sites

“‘The Boars Head’ which was built in 1605” – wrong again, though a rare example of a pub claiming to be much younger than it actually is, since “Le boreshede in Parish of St Dunstan in Fletestrete” was mentioned in the same grant to the Carmelite friars in 1443 as the Bolt and Tun inn next door. (This means, incidentally, that the Tipperary/Boar’s Head is at least 575 years old this year: there are only two or three other pubs in London that can reckon to be older.) “It survived the Great Fire of London in 1666. This is because the property was of stone and brick whereas the surrounding neighbouring premises were of wood.” More ahistoric nonsense. The fire destroyed all of Fleet Street to a point just past Fetter Lane, some 160 yards west of the Boar’s Head/Tipperary, which was one of the 13,000 buildings consumed in the blaze.

“In approx 1700 the S.G. Mooney & Son brewery chain of Dublin purchased ‘The Boars Head’ and it became the first Irish pub outside Ireland … The pub also became the first pub outside Ireland to have bottled Guinness and later draft.” I cannot fathom how or why anyone would invent this stuff, or have it so totally wrong. There is actually a gorgeous old mirror, probably more than 100 years old, on the wall inside the pub which gives the proper name of the pub chain – not “brewery chain”, whatever one of those is — that formerly owned the Boar’s Head/Tipperary, which makes getting the incorrect name outside the pub particularly inexcusable. It was JG Mooney and Co, not “SG Mooney & Son”: the company developed out of the licensed wholesaler and retailer business James G Mooney was running in Dublin from at least 1863. The Tipperary was not only emphatically NOT “the first Irish pub outside Ireland”, it wasn’t even JG Mooney’s first pub outside Ireland. The company acquired its first licensed outlet in London, on the Strand, in 1889, its second on High Holborn in 1892 and a third in Duke Street, on the south side of London Bridge, shortly afterwards. Mooney’s acquired the lease of the Boar’s Head, its fourth London pub, in November 1895. That’s not “approx 1700”, unless you think being nearly two centuries out is “approx”. (Mooney’s was to grow to at least 11 London outlets by 1940, all, or almost all, called “Mooney’s Irish House”: the one in Duke Street was known as “Mooney’s Dublin House”.) Nor, of course, was the Boar’s Head “the first pub outside Ireland to have bottled Guinness and later draft” (sic, again). Guinness was exporting to Bristol from at least 1825 (and to the West Indies earlier than that), in both cask and bottle.

The lovly mirror inside the Tipperary that gives the lie to the signboard outside

“1918 At the end of the Great War the printers who came back from the war had the pubs [sic] name changed to ‘The Tipperary” from the song ‘It’s a Long Way’ [sic], which name it retains to this day.” But it was being called “Mooney’s Irish House (late Boar’s Head)” in 1895, and Kelly’s directories make it clear that the name of the pub was The Irish House right up to 1967. Only then did it change to The Tipperary. There are no references that I have been able to find to the pub as The Tipperary before this: it was certainly being referred to as “Mooney’s Irish House in Fleet Street” in the 1950s. (Strangely, there is a strong Fleet Street link to the song “It’s a Long, Long Way to Tipperary”, but it is nothing to do with returning printers. The song’s popularity with the British Army in France in August 1914 was spotted by a Daily Mail reporter, George Curnock, who cabled back to his news editor, Walter Fish that the soldiers were all singing the song as they marched from Boulogne to the front. According to Fleet Street mythology, “Fish visualised ‘Tipperary’ as a great national stimulative, the possible British counterpart of the ‘Marseillaise’, and to his delight found Lord, Northcliffe [owner of the Mail], with his fine flair for judging the public taste, equally enthusiastic. The words and the music of the pantomime song were secured and prominently displayed in the Mail, and from that day on it was on everybody’s tongue.”)

So: four paragraphs, at least 11 clunking, ludicrous errors, all of which could have been avoided with little effort. It took me two to three hours on the interwebs, and an hour in the Guildhall library looking at microfilms and consulting a couple of books, to put together the corrections above, and uncover a more accurate history of 66 Fleet Street. People, this is really not difficult. Don’t just repeat stuff you read – do your own research, because “stuff you read” is quite likely to be wrong.

A map of Fleet Street at the Reformation, circa 1538-40: the Bolt-in-Tun is shown in orange, the Boar’s Head in dark blue. Double-click to embiggen

The Boar’s Head originally faced onto Whitefriars Street (named, of course, for the Carmelites, and originally, until at least the 1830s, known as Water Lane). To the south was an inn called the Bolt-in-Tun, with both premises having back entrances dog-legging out on to Fleet Street, at what would later be numbers 64 and 66. (To the east, at what would become 67 Fleet Street, was a tavern owned by Royston Priory in Hertfordshire called the Cock and Key.) In a licence of alienation to the Friars Carmelite of London of certain premises in the parish of St Dunstan, Fleet Street, in the Patent Roll of 21 Henry VI – that’s 1443 to me and thee – “Hospitium vocatum le Boltenton” is mentioned as a boundary. This would have been a building attached to the friary for accommodating guests. The hospitium, or at least a building on its site, was quite probably at least a century older than this, because the wording of an ordinance of King Edward III in council dated 1353 suggests that the road from the bridge over the Fleet to Temple Bar, where Fleet Street becomes the Strand, was by then already lined with dwellings and well-inhabited.

The inn’s name is a pun on “Bolton”, and its sign was a bolt – a crossbow arrow – sticking though a tun, or cask. How or why it was give that name remains unknown. (At least two sources try to claim that the inn’s name is ” derived … from Prior William Bolton of St. Bartholomew, Smithfield”, which is more nonsense on stilts, because while Prior Bolton certainly used the bolt-in-tun as a badge, he was born around 1450, after the first known mention of le Boltenton. It’s more likely, in fact, that Prior Bolton stole the idea of using a bolt sticking through a tun as his badge from the Carmelites’ inn.)

The Bolt in Tun, 64 Fleet Street in 1859, when it had fallen to become no more than a booking office for the railway companies that had replaced the stage coaches. Note the two ‘tuns’ pierced by bolts, or arrows, just visible on the frontage. Picture nicked shamelessly from the British Museum website.

It looks as if the Carmelites used the premises to brew, because after Henry VIII nationalised their friary in November 1538, the list of buildings surrendered included “a tenement for brewing called ‘le Bolte and Tunne'”, and “a brewhouse called Le Bolt and Tunne in the parish of St Dunstan in Fletestrete, which belonged to the late Carmelite Friars there” was leased to one of Henry’s household officials, John Gilman, in 1541. As the only inn on Fleet Street, and thus effectively the first inn on the Great West Road, the Bolt-in-Tun developed into an important base for coaches travelling to Bristol, Plymouth and South Wales. In September 1665 a boy was found dead of the Plague in its hayloft. The Fire of London the following year at least cleansed the city of plague-carrying rats, and by 1704 regular coaches for Windsor were starting from the rebuilt inn. In 1741 services from the inn included “A Handsome Glass Coach and six able Horses” travelling regularly to Bath. Destinations from the Bolt-in-Tun in 1805 ranged from  Cardiff to Hastings, and Newbury to Chichester, and in 1817 26 coaches a day left the inn for towns and cities across the south and south-west.

About 1822 the Water Lane side of the premises was renamed the Sussex Hotel, but the Bolt in Tun continued as the booking office and coach destination in Fleet Street. You could still get a drink there: in 1830, John Richardson, 38, was nabbed by a police officer in the Bolt-in-Tun tap for stealing a horse-blanket worth eight shillings from the Bolt-in-Tun’s stables. (His defence was that “I was very tipsy”: he was fined one shilling and discharged.) The stables still had a hayloft, of course, and in March 1838 a fire broke out in the Bolt-in-Tun hayloft which “extended its ravages with great rapidity”, destroying all the hay, while the adjoining house, “occupied by many poor families,” was also “considerably damaged”. The proprietor in charge of coaching operations was Robert Gray, whose partner was Moses Pickwick – a surname that a young Fleet Street reporter called Dickens found a use for.

The coaching era, however, was nearing its end. From 1838 onwards, London was increasingly connected to the rest of Britain by railways, and in the 1840s the Bolt-in-Tun was described by its proprietor as a “Mail, Coach, and Railway Establishment”. Gradually the railway side took over, and by 1859 the Bolt-in-Tun was purely a booking office and parcel collection point for the railway companies. Eventually, in late 1882 or early 1883, most of the Bolt-in-Tun was demolished, ending a history of more than 440 years.

Timothy Richards and James Stevens Curl, authors of City of London Pubs, published in 1973, thoroughly screwed up the history of the Bolt-in-Tun, completely confusing it with the Tipperary, and claiming that “shortly after 1883 the Irish house of Mooney erected a new pub on the site of the Bolt-in-Tun, and it is this building that now stands.” This is, of course, as egregiously wrong as anything on the Tipperary’s signboard. Mr Curl is an extremely distinguished architectural historian, a member of the Royal Irish Academy, a Fellow of the Society of Antiquaries of London, a member of the Royal Institute of British Architects, and a Liveryman of the Worshipful Company of Chartered Architects of the City of London. He is a Professor at the School of Architecture and Design, Ulster University, Professor Emeritus at De Montfort University, Leicester, and a former Visiting Fellow at Peterhouse, Cambridge. He has written more than 30 books. Let us say that the entry on the Tipperary in City of London Pubs was not his finest hour.

The Boar’s Head at 66 Fleet Street, and the Bolt-in-Tun at No 64, from Tallis’s London Street Views and Pictorial Directory of 1847

The Boar’s Head led a comparatively quiet life compared to its neighbour. Boar’s Head Alley, alongside the pub, is first mentioned in 1570, and two inhabitants of the alley had to appear at a ward inquest in 1595 for not having chimneys in their houses. The first known licensee was William Hayley or Healey, there in 1664 and 1665. The next year the pub was destroyed in the Great Fire, but Hayley was back in business within a couple of years, and issuing a trade token bearing the words “William Healey at the [picture of a boar’s head] in Fleet Street • 1668 • His Halfe Penny”. How much of today’s pub dates from the post-Great Fire rebuilding I don’t know, but the City of London’s own “Fleet Street Conservation Area Character Summary and Management Strategy” paper from February 2016 named it as one of only “a handful of survivors immediately post-Great Fire” in the conservation area. The report dated the pub building to “circa 1667”, saying that the “slightly crooked window details” hint at its age, and adding that it has a “later, traditional pub frontage and stuccoed upper floors on a narrow historic plot.”

Behind the Boar’s Head, the rectangle of land bounded by the Thames, the walls of the Temple, Fleet Street and Water Lane/Whitefriars Street was known in the 17th century as “Alsatia”. It still had some of the privileges of sanctuary left behind from the days when it was the site of the Carmelites’ friary, which privileges were confirmed and enlarged by a royal charter issued by James I in 1608. The rule of law thus did not run in “Alsatia” as firmly as it did in the rest of the city, so that it was a refuge for on-the-run debtors, and “a hiding-place to cheats, false witnesses, forgers, highwaymen and other loose characters who have openly resisted the execution of legal process”, until the privileges of the liberty of Whitefriars were extinguished by William III in 1697.

The district continued to be lively. The Boar’s Head had all its windows smashed by a Jacobite mob during the “mug house” riots of 1716, because the landlord, Mr Gosling, was “well-affected to his Majesty King George and the present Government.” (It was described in news reports as an “ale house”, putting it one rung down the ladder from an inn like the Bolt in Tun.) Gosling was lucky: the mob’s real target was Mrs Read’s Coffee House in Salisbury Court, the next street east from Water Lane, which was a centre of Whiggish support for Britain’s new Hanoverian ruler. The Jacobite supporters stormed the coffee house, and when the landlady’s husband, Robert Read, shot dead the leader of the rioters, Daniel Vaughan, they smashed their way in, mad with fury. While Read and some of the coffee house clients escaped “with some difficulty” out the back, and others sheltered behind a barricade on an upper floor, the rioters trashed the downstairs rooms, smashing all the furniture to sticks and drinking all the ale, or letting it pour onto the floor. The Sheriff came and read the Riot Act, passed only the year before, and when that failed to have any effect, mounted troops were called in. The tumult finally ceased, arrests were made, and five rioters were later hanged in Fleet Street opposite Salisbury Court. Read, meanwhile, was found not guilty of Vaughan’s murder. You don’t get THAT kind of thing happening in Starbucks …

Part of the lovely shamrock mosaic floor at the Tipperary

Gosling and the Boar’s Head were given a page in Ned Ward’s rhyming pub guide to London, A Vade Mecum for Malt Worms, written around the same as the mug house riots. This makes the Tipperary today one of the few among the 200-plus pubs Ward wrote about in the Vade Mecum and its companion, the Guide for Malt Worms that are still open. Ward described the Boar’s Head’s landlord as “justly prais’d/and by his Courage and good Drink emblaz’d/Is to some height of reputation rais’d.”

He had a better reputation than a later landlady. In 1775 there was a complaint by the wardmote inquest against Sarah Fortescue, widow and victualler of the Boar’s Head alehouse in Fleet Street, for keeping her house open at unseasonable hours, frequently the greatest part of the night, and for harbouring and entertaining “lewd women and other infamous and disorderly persons to the great disquietude and disturbance of her neighbours.”

Some time after the premises had risen from mere alehouse status: in 1812 the Boar’s Head was described as “That well known and long established first rate Wine Vault and Liquor Shop,” brick-built, four storeys high, and in the occupation and on lease to Mrs Geary at “the very low rent of 50£ per annum.”

The Boar’s Head survived the demolition of its neighbour, the Bolt-in-Tun, and then became the fourth of the Mooney’s Irish House chain in London in 1895, four years after the death of JG Mooney himself (the company continued under his sons Gerald and John Joseph, the latter a nationalist MP and, in 1900, the youngest member of the House of Commons.) The Mooneys brought in an English architect, RL Cox, to refurbish the pub, and it was presumably under his direction that the mosaic floor was put in, and the front step installed that still says “Mooney’s”. A fifth pub, near Piccadilly, was bought in 1896. The original premises in the Strand were closed when Kingsway was built, but a new bar was opened at 395 The Strand in 1900 which, until it shut around 1967, was famed for having the longest bar in London. At one point the company had another pub in Fleet Street, at No 154, formerly the Portugal, which closed in 1910. The serving staff in all its pubs were all male and Irish – no barmaids, apart, apparently from a brief experiment around 1963 – and Mooney’s Irish Houses were known for excellent service, excellent prices and excellent food.

No … no, I’m very sorry, it isn’t

Through the 1960s the company began to retreat from London, with the former Boar’s Head disposed of in about 1966-67, which is when the name change from Mooney’s Irish House to The Tipperary looks to have taken place. At the same time the name The Boar’s Head seems to have been resurrected for the upstairs dining room, as indicated on the signboard outside the pub: I am sure I can remember that the name “The Boar’s Head” used to be visible between first and second-floor level on the pub’s fascia in the 1980s or 1990s. Greene King is supposed to have taken the pub over in the 1960s: I haven’t researched this particularly, but the 1979 Camra “real beer in London” guide shows the Tipperary selling Everard’s Tiger and Wethered’s bitter, which suggests this is as inaccurate as the rest of the signboard’s claims about the pub. It apparently closed for a couple of years around the start of the 1980s, I believe, for a refurbishment, and it was certainly a Greene King pub in 1986, when it was listed for the ’87 Good Beer Guide as selling IPA, Abbot and the much-missed (by me) Rayment’s BBA. I am middlingly sure I drank Rayments in the Tipperary about that time, since I would have hunted out a rare central London outlet for one of my favourite beers, though that was 32 years ago. GK looks to have sold the pub a few years back, and it is now under independent ownership.

That’s it: a vastly, vastly more accurate history of one of London’s oldest pubs than you will find anywhere. What are the chances of promoting the correct version of events over the one on the signboard? Not good, I fear: there are at least five books, a number of newspaper and magazine articles (including one from the Daily Mirror which was, again, wrong in every sentence) and dozens of websites repeating the total nonsense version, including one book published a couple of years ago that talks of “the famous Dublin brewer SG Mooney & Sons” – they can’t be that “famous”, mate, you’ve never heard of them before, because THEY DON’T BLAHDY EXIST. And the more observant of you will have spotted that this particular author can’t even copy inaccuracy accurately: the signboard outside the Tipperary says “& Son”, not “& Sons”.

(Astonishingly, should you have £46 to throw away, you can buy a Tipperary pub Christmas decoration, 7.5cm high, to hang on your tree – down from £82, apparently.)

Did Michael Collins drink a pint of Clonakilty Wrestler the day he died?

Today is the 96th anniversary of the death of Michael Collins, the Irish revolutionary who played a major part in the Irish War of Independence, which saw the establishment of what was known as the Irish Free State, and who was then killed in an ambush during the civil war between those that accepted the treaty which divided Ireland into an independent south and a north that was still part of the United Kingdom, and those who would not accept that settlement. He is still an important figure in Ireland, where whichever of the major Irish political parties you support still, basically, depends on whether your great-grandfather supported Liam Neeson or Severus Snape – sorry, Michael Collins, whose pro-treaty wing of Sinn Féin developed into Fine Gael, currently the governing party in the republic, or Éamon de Valera, whose anti-treaty wing eventually spawned Fianna Fáil, currently the largest opposition party in the Dáil, the Irish parliament.

Deasy’s brewery in Clonakilty circa 2010

None of the very many accounts of the events that led up to Michael Collins’s death on August 22 agree on all the details, with multiple and contradictory variations in the narrative: from why, as Commander-in-Chief of the Irish National Army, he had travelled to County Cork, heartland of the anti-Treaty rebellion, with only a small number of soldiers, and what he was hoping to achieve, to the details of his last day, from the route taken by Collins and his convoy west out of Cork to the towns of Clonakilty and Skibbereen to how many vehicles – and soldiers – travelled with him, to who fired the fatal shot (or shots) – at least seven possible candidates among the ambushers – and even to the name of the place where the ambush took place: Béalnabláth, pronounced “Bale-nu-blaw”, and probably best translated from Irish as “mouth of the ravine”, is frequently, and mistakenly, given as Béal na mBláth, which would mean “mouth of the flowers”. Much of what has been written about the day is demonstrably wrong, and much is now unprovable.

Of greater interest to the beer historian, however, is another contentious question: on the day he died, did Michael Collins drink a pint of Clonakilty Wrestler, the now legendary porter brewed by Deasy’s of Clonakilty, easily the best known of several small West Cork porter brewers.

The brewery was founded some time around the start of the 19th century, and was certainly running by 1810, when it was recorded that at “Cloghnikilty” [sic] “A porter brewery, the plan of which is remarkable and convenient arrangement, and upon a scale of considerable magnitude, was built by Rickard Deasy, Esq, and Co. The business, carried on with spirit, and conducted with care and prudence, fully answers the expectations of the proprietors.”

Deasy’s Prize Stout ad, Southern Star newspaper, Skibbereen, Cork, 1936

Deasy’s porter was nicknamed “The Wrestler” (or “Wrassler”, in a West Cork accent) at least as early as 1890, when the Irish journalist John Augustus O’Shea eulogised it, declaring:

‘In every district there is some show pot, some natural curiosity, some distinguished or erratic character in the community pointed out to the stranger. The great local wrestler is the big pot of Clonakilty. The fame of Milo of Crotona pales beside his, for he has no fear of the clutch of wood. A full-bodied, swarthy fellow, with a white head, he is stronger than most human beings, and seems to get stronger the oftener he is tackled. He is usually cool, fluent, and even tempered, but can be roused to a ferment at times, and when he is doesn’t he just froth? His main struggles are with that proverbially robust class brewers’ draymen, but he has taken many a fall out of the finest peasants, and hardiest seamen of Ross and Cloyne, and it is mysteriously bruited that he once laid by the heels a whole station of the RIC. He is a descendant of John Barley Corn, and is addicted to hops. Far be it from me to act as an intermediary in a prize fight, but not to spoil sport I may say he has a standing challenge with one Guinness of Dublin. Like most men of his call he has his price. His price is two pence a pint.”

O’Shea appears to have been wrong about the price: Deasy’s porter was popular at last in part because of its cheapness compared to rivals. A commentator in 1892 said that “the western man”, “though on pleasure bent, was of a frugal mind, and preferred to pay three half-pence rather than two pence for a pint of porter.”

Deasy’s harvest porter and stout ad, 1938, less than two years before the company stopped brewing beer (it continued making soft drinks for another 70 years). The typeface top and centre is Cooper Blasck, which was being used by the Brewers’ Society in Britain for its series of ‘Beer is Best’ ads.

Michael Collins was born in 1890 at Woodfield, the family farm, some four miles west of Clonakilty. Between 1903 and 1905 he lived with his sister Margaret and her husband, Patrick O’Driscoll in a house in Shannon Square, just a few yards from Deasy’s brewery, (today Emmet Square). The claim has been made by several writers that Collins’s favourite drink was “Clonakilty Wrestler”, and one Irish craft brewery produces today a stout called “Wrasslers XXXX” with a picture of Collins in his general’s uniform on the pumpclip (based on the iconic photograph taken at the funeral of Arthur Griffith, founder of Sinn Féin, six days before Collins himself was killed). One source says that Collins actually “loathed the sight of porter”. However, he certainly did drink Deasy’s most famous beer on occasions. When he came home to Cork from Frongoch prison camp in North Wales in December 1916, after the British government released the surviving prisoners taken at the end of the Easter Rising, “the Big Fellow” spent three weeks, in his own words, “drinking Clonakilty wrastler [sic] on a Frongoch stomach,” before returning to Dublin. But Collins’s preferred drink actually appears to have been whiskey: “‘a ball of malt’ was his usual,” according to one biographer, and another named Jameson’s as his favourite.

Collins apparently went to West Cork in August 1922 in the hope of meeting republican leaders and persuading them to end the civil war, as well as to inspect the pro-treaty forces on the ground and boost the morale of the commanders and soldiers now fighting men who, in many cases, had been their friends and colleagues against the British only months earlier. After his arrival in Cork, he left on August 22 to travel west in a convoy that included Collins himself, being driven in a Leyland 8 four-seater tourer, a Crossley troop carrier and a Rolls-Royce armoured car. The route taken was a circuitous one, to avoid bridges blown up by annti-treaty forces. On its way out from Cork to Clonakilty, Collins’s convoy had passed Long’s pub in Béalnabláth village alerting a group of anti-treaty ‘Irregulars’ holding a conference nearby to his presence in the area, and they decided to lay an ambush on the assumption that the convoy was likely to return the same way later on.

It is certain, since Emmet Dalton, who was with Collins on his final journey, recorded it in the account of that day he wrote just three months later, “The death of Micheal O’Coileain”, that Collins’s party lunched in Clonakilty, and shortly after leaving, that is, between two and three in the afternoon, they arrived at the hamlet of Sam’s Cross, about two thirds of a mile from where Collins was born, (though even here one writer insists, against all the evidence, that the convoy arrived at Sam’s Cross early in the evening, departing at 6.15pm. There Collins met and spoke with his brother John/Séan and other family members, including his cousin Michael O’Brien, who had a house at Sam’s Cross. According to O’Brien’s son Jimmy, Collins and some officers in the convoy had a cup of tea while sitting in the O’Brien’s kitchen, waiting for John Collins to arrive, after which the two brothers went into the parlour and talked by themselves for 20 minutes. Michael Collins then got into his car, and the little convey left, after a warning from John Collins: ‘You’d better put up that hood –you could be shot before night!”

The Four Alls Sam’s Cross
The Four Alls, Sam’s Cross, near Clonakilty, Cork

Dalton’s report from November 1922 does not mention any beer drinking (though he is alleged to have told an RTE film crew recording a programme about his life, decades later, that “We were all arseholes!”, that is, drunk) and neither did Jimmy O’Brien. But at least five other accounts say that during the stop at Sam’s Cross, Collins and his escort, which included 12 soldiers in the Crossley tender, a motorcycle outrider, and the armoured car with a crew of four – 20 men in total – went into the pub across from the O’Briens’ house, now, if not then, called the Four Alls. (The pub was run by a man called Jeremiah Collins, whom several authors mistakenly identify as “a cousin” or “a kinsman”. Someone who was a kinsman, Brother Jerome Collins of the Hospitaller Order of St John of God, whose father shared a grandfather with the Big Fellow, emphatically denied that the pub landlord was a relative – “He just wished he was.”) In the pub, several authors assert, Michael Collins treated his escort to “a pint”, or “two pints” of the Clonakilty Wrestler, and, according to at least two writers, he had a pint of the Wrestler himself.

Deasy’s Stout and Porter, advertised in the Southern Star, Skibbereen in 1925, with an emphasis on the firm’s localism

Another investigator, John Feehan, reported that rather than pints at Sam’s Cross, “the convoy had drinks in White’s pub,” White’s being at the Pike Cross, a mile away to the south at Lisavaird, on the main road between Clonakilty and Rosscarbery. Drinks would have probably been welcome for men driving around dusty Irish roads in August in open-top vehicles. But this was an armed venture into potentially hostile territory. Certainly the idea of serving 20 men, plus, supposedly, relatives of Michael Collins also gathered at the Sam’s Cross pub, with two pints each in the sort of time allowable in the convoy’s journey around West Cork seems unlikely. It was in Skibbereen by “mid-afternoon”, having gone by Rosscarbery, where Collins had talked to the commander of the garrison there and visited the mother of an old friend who had just died. In Skibbereen there was time for more talk with the officers of the local garrison “for a considerable length of time”, a meeting in the Eldon Hotel with the editor of the local Eagle newspaper and a local schoolmaster, a quick talk with Cameron Somerville, brother of Edith, co-author of the Irish RM novels, who was a member of the local Protestant aristocracy, and a speech to the people of the town, including 150 horsemen who had ridden in to see him.

By then it was “around 5pm”, and the decision was made not to continue to Bantry, as originally planned, but to return to Cork. All that activity suggests Collins arrived in Skibbereen no later than 4pm. The total distance from Sam’s Cross to Skibbereen is 16 miles: say a journey of 40 minutes under early 1920s conditions, plus 40 minutes spent in Rosscarbery, as a minimum. Collins spent at least 30 minutes in Sam’s Cross taking tea with his mother’s nephew, and waiting for and then talking to his brother. If he arrived in Sam’s Cross as early as 2pm – and it may well have been later – that only leaves a few minutes unaccounted for. It is possible the rest of the convoy had time for a pint of porter in Sam’s Cross while the family reunion in the O’Briens’ house was happening: Michael Collins, not so much.

Deasy’s Stout ad, Southern Star, Skibbereen, Cork, 1937

Another brewery also played a bit-part in Collins’s last day. Back at Béalnabláth village it was a Tuesday, the day a one-horse brewery dray came over from Beamish & Crawford’s depot seven miles away in Bandon, formerly (until 1913) Allman Dowden & Co’s Bandon brewery, founded 1785, to take away the empties from Long’s. The Irregulars commandeered the dray to use as a barrier, and took it a little up the road out of the village to a likely spot for an ambush, removing the wheels and standing them in front against the dray. Around 7 or 8pm in the evening, the convoy did indeed come back down the road. In the gunfight that followed, Michael Collins, just 31 years old, was the only person killed.

How Michael Jackson drank a beer that inspired a Yorkshire delicacy and never realised it

Sometimes it takes 20 years and more before the significance of something you read become apparent.

In January 1997, What’s Brewing, the Campaign for Real Ale’s monthly newspaper for members, ran a piece by Michael Jackson on a trip he made to what was then the Pripps brewery in Bromma, just outside Stockholm (closed by Carlsberg just six years later). Most of the article was concerned with Carnegie porter, which is still going, though now made at what is its fourth home, the Carlsberg plant in Falkenberg, on Sweden’s west coast. (Which is, somewhat ironically, only about 60 miles from where the beer was born, in 1817, when an entrepreneur from Hamburg called Abraham Lorent opened a porter brewery in Gothenburg which was acquired by a young Scot called David Carnegie in 1836). But at the very end of the article, after discussing a sampling session of vintages of Carnegie porter dating back more than 20 years, Jackson mentioned another beer his hosts at Bromma had given him to try:

” a brew called Pryssing (‘Prussian’), taking its name from the days when Sweden ruled parts of Germany. It had an oily, brown colour, a very syrupy consistency, a slightly medicinal finish, and an alcohol content of 20 per cent. I believe this potency was achieved by fortification, though Hans would not confirm that. The product, available only to guests at the brewery, was an attempt to re-create a beer allegedly served by teaspoon to King Gustav Vasa, in the 1520s to cure his toothache.”

I read that in 1997, and it whizzed way over the top of my head. Then earlier this year I came across “Pryssing” again, in the Sound Toll Registers, the accounts of the toll which the king of Denmark levied for some 360 years on the shipping through the Sound, the strait between Sweden and Denmark. where it is defined as “strong ale from Danzig”. Those records show Pryssing was being exported on ships travelling through the sound from at least 1597 to at least 1843, originally to places such as Amsterdam, and from at least 1677 to destinations in the British Isles, including London, Newcastle, Aberdeen, Dundee, Hull, and even Dublin.

I had totally forgotten about that Michael Jackson article, and not being able to find “Pryssing” in a dictionary, I asked a Danish friend, Bjarke Bundgaard of Carlsberg, if he knew what it meant. Turns out Pryssing is actually the old Danish/Swedish/Norwegian name for Prussia, which in the modern languages is Preussen, the same as it is in German. Ping! On comes a lightbulb. The old English name for Prussia was Spruce – Chaucer called the country “Sprewse”, and it was still being called “Spruce-land or Prussia” as late as 1697. The “Spruce beer”, beer from Prussia, that appears in an English poem in 1500 and was on sale in London in 1664 is clearly the same drink as Pryssing. (The “spruce tree”, first mentioned in 1670 by John Evelyn, was so called because it was the fir from Spruce.)

Now, I wrote about Spruce beer from Danzig here, and described how it was eventually, from about 1800, copied by brewers in England, mostly in the North, under the name “black beer”. The last manufacturer of black beer, which despite a stonking 8.2 per cent abv, paid no excise duty, because it was regarded as a “tonic”, being rammed with Vitamin C, was a firm from Leeds called JE Mather & Sons. Michael Jackson, who grew up in Leeds, certainly knew of Mather’s Black Beer, and probably drank it, in the combination with lemonade called a “Sheffield stout”: he talked about it in an article in the Independent newspaper in 1992.

However, there was nothing for him to connect the black beer he knew from Leeds with the “oily, brown syrupy” Pryssing he was offered in Sweden. It was only when I came across his article from 1997 again a short while ago while digging around for information about Carnegie porter and the mention of this strange beer King Gustav Vasa drank to cure his toothache that I made the connection myself, and another lightbulb turned on. How wonderful it would be to beam back to Bromma 21 years ago and tell Michael that what he was drinking was the ancestor of the black beer he knew from his Yorkshire childhood. Alas, Michael disappeared from this world in 2007, six years before Mather’s Black Beer disappeared as well, after a change in the law meant it lost its duty-free privilege.

The Polish historian Piotr Rowicki has written about Spruce beer/Pryssing, known in Polish as “Piwo Jopejskie”, a name that Rowicki says comes from the “double-sided” wooden scoop, or “jopy”, used to measure the malt and hops that went into the beer, which used twice as much ingredients as standard Danzig beer. (“Piwo Jopejskie” became “Joppenbier” in German, confusingly, since there is another, very different historic beer called Joppenbier from the Netherlands.) The secrets of Piwo Jopejskie, he confirms, were in the prolonged boiling of the wort – ten hours, instead of the normal three – and the fermentation for up to nine weeks in open tubs in “mouldy sheds or cellars”, so that the mould fell from the walls into the tubs and helped ferment the beer, after which it sent a year in barrels to mature. The result was a beer with about 14 per cent alcohol, “dark colour, tar-like texture, reminiscent of thick syrup.”

And now Piwo Jopejskie is being brewed again, by Browar Olimp, a contract brewing operation based in Torun, a town some 80 miles south of Danzig, and sold in 100ml bottles. To my knowledge this has not made it to the UK yet, but if anyone knows better, do let me know, and I will be raising a glass to Michael Jackson, Mather’s Black Beer and the Pripps brewery in Bromma.

'Zee-tho-fyle', by Martyn Cornell, an award-winning blog about beer now and then, founded in 2007