This is a new edition of a classic of early 17th-century food writing. The book was written by the Italian refugee, educator and humanist Giacomo Castelvetro who had been saved from the clutches of the Inquisition in Venice by the English ambassador, Sir Dudley Carleton in 1611. When he came to England, he was horrified by our preference for large helpings of meat, masses of sugar and very little greenstuff. The Italians were both good gardeners, and had a familiarity with many varieties of vegetable and fruit that were as yet little known in England. He circulated his Italian manuscript among his supporters, dedicating it to Lucy, Countess of Bedford, herself a keen gardener and patron of literature. Gillian Riley's translation of this hitherto unpublished document has been recognised as being fluent, entertaining and accurate from its first appearance in 1989. Castelvetro takes us through the gardener's year, listing the fruit and vegetables as they come into season, with simple and elegant ways of preparing them. Practical instructions are interspersed with tender vignettes of his life in his native city of Modena, memories of his years in Venice and reminiscences of his travels in Europe. He writes of children learning to swim in the canals of the Brenta, strapped to huge dried pumpkins to keep them afloat; Venetian ladies ogling passers-by from behind screens of verdant beanstalks; sultry German wenches jealously hoarding their grape harvest; and his intimate chats with Scandinavian royalty about the best way to graft pear cuttings and discomfort the Pope. English cooking was on a cusp. It had yet to absorb the new ways of Europe, although some of the best practice of Dutch and French gardening was having its effect on our diet. But there were still many new styles of cooking and recipes to absorb, as well as new plants to enjoy (for instance broccoli), and new ways to set them out on the table. This treatise anticipates many of the changes that were to come about over the next one hundred years. Castelvetro urges that we should eat more salads with the same enthusiasm that was evinced by John Evelyn in his book on salad-stuff of 1699. This edition is printed in two colours, has a graceful typography (using the Galliard typeface) and generous layout, and is equipped with a knowledgeable and informative introduction by the translator.

As anyone who has ever been on a diet knows, they simply don't work. No one can diet indefinitely and, once you stop, the weight simply piles back on. Eating Less is not about dieting; instead, it places the emphasis where it belongs, on healthy eating and eating less. This revised and updated edition offers you a unique and inspiring solution to overeating: its aim is to look at thoughts and beliefs about food, unravel the mind's addictive impulses, and retrain it to have a more healthy, balanced relationship with food. It introduces you to practical techniques that you can apply in your daily life; it shows you how to set your own limits without feeling deprived and becoming rebellious; and it gives you the ability to develop greater control by helping you to overcome addictive behaviour. So simply follow Eating Less and see your weight fall off and stay off. 'Eating Less is likely to succeed where diet books fail. The utter simplicity of its message and techniques makes it easy to start and continue with a programme that revolutionises your attitude to eating and weight.' Sarah Litvinoff

From ancient Rome to early modern Europe, the relationship between humans and food has been portrayed in artworks for thousands of years. From farming, cooking and feasting scenes depicted in the Middle Ages in books of hours to the fish and fruit of ancient frescoes and mosaics, Food in Art gives fresh insights into how food items were cultivated, hunted, trapped, stored, traded, prepared and served throughout the ages. In this richly illustrated book, leading food historian Gillian Riley demonstrates how works of art can provide us with detailed information about the preparation and preservation of food that is missing from the history books. Artists of all periods and in all places have portrayed the tools and environments of the gastronomic world - of the drying, salting or smoking of meat, fish or vegetables, for example - and the enjoyment of eating, from the simplest peasant meals to the grandest banquets. These works allow us, as twenty-first-century viewers, to appreciate the colours, imagine the smells and salivate over the recipes of the foods, kitchens and dishes of the past.The book also explores the many links between food and myth, religion and legend in an array of artworks: is our perception of fruit in Christian art skewed by their symbolic meaning? Were the golden apples of the Hesperides indeed apples, or were they quinces or oranges? Covering everything from ancient wall paintings and medieval illuminated manuscripts to stained glass and funerary monuments, Food in Art explores these questions and many more in this aesthetically pleasing and highly readable volume.

Universally acclaimed by the critics, and now available for the first time in paperback, here is an inspiring, wide-ranging, A-Z guide to one of the world's best-loved cuisines. Designed for cooks and consumers alike, The Oxford Companion to Italian Food covers all aspects of the history and culture of Italian gastronomy, from dishes, ingredients, and delicacies to cooking methods and implements, regional specialties, the universal appeal of Italian cuisine, influences from outside Italy, and much more.
Gillian Riley here celebrates a heritage of amazing richness and delight. She brings equal measures of enthusiasm and expertise to her writing, and her entries read like mini-essays, laced with wit and gastronomical erudition, marked throughout by descriptive brilliance, and entirely free of the pompous tone that afflicts so much writing about food. The Companion is attentive to both tradition and innovation in Italian cooking, and covers an extraordinary range of information, from Anonimo Toscano, a medieval cookbook, to Bartolomeo Bimbi, a Florentine painter commissioned by Cosimo de Medici to paint portraits of vegetables, to Paglierina di Rifreddo, a young cheese made of unskimmed cows' milk, to zuppa inglese, a dessert invented by 19th century Neapolitan pastry chefs. Major topics receive extended treatment. The entry for Parmesan, for example, runs to more than 2,000 words and includes information on everything from its remarkable nutritional value to the breed of cow used to produce it (the razza reggiana, or vacche rosse).
For anyone with a hunger to learn more about the history, culture and variety of Italian cuisine, The Oxford Companion to Italian Food offers endlesssatisfactions.

The popularity of Italian food all over the world is ever increasing. Unhampered by any sense of superiority, and unburdened by the weight of a great classical tradition, Italians cook and eat in the ways they have known and trusted for generations, absorbing new influences while cultivating and maintaining a distinct and esteemed gastronomic tradition. Lovers of Italy, the Italian people, and their cuisine, from the general ravioli revering public to those with specialist skills and interests, will welcome this new A-Z reference. The Companion consists of a short introduction followed by entries covering a range of topics such as the universal appeal of Italian gastronomy, influences from outside Italy, dishes, ingredients, delicacies, obscure terms, cooking methods and implements, regional specialties, personalities, books and writers, and history. This is an inspirational work providing an even blend of history, practical information, quotation, and anecdote.