 Mae gennym ni'n fan hyn o'r cyfnod i gyddoedd. Mae yna y gallwn i fynd i'n teimladu'r ffordd. 1. Yna'r ffordd. sut mwy fydd y cwm draws ym mewn cyfyddoeth i'w ymgei'r twf yn eraill. I'r byd yn y bydd. er mwyn o'r ddiadw nos i wneud yn gallu schnug o'i chiór o sail. 2. Mi'n gwybod i lawr o Americaol, a ydych chi'n gallu cyfnod i'w lectrung o'u thwygen o'r gennym.holm delyg fel Ras Ym Lawr , today's brilliant We are there Mads Forget Your Wife y tiyster It is an honour to be here and I think of full circle Because one of the most asked questions that I'm going to pre-empt Is How on earth do you become a food historian and the answer is a fellow of the Royal Society phoned me up many many many years ago Mr Peter Brears who has remained my tutor and mentor ever since and to say I think you need to come and help me with a project felly, dwi'n cael ei wneud o'r ffolo, rwy'n eich bod ni wedi'i gweithio i gyd. Rwy'n cael ei gwybod i chi o'r gweithio. Rwy'n cael ei wneud o'r gweithio i'r palysau cymaint. Rwy'n cael ei wneud o'r ffamiliau, yw'r maesaf, mae'r Magistr has yn ymgyrch yn unrhyw o casgliadau a'r gweithio'r brydiau, ac mae'r ffosbeth wedi'i gweithio i'r gweithio i'r gweithio. that she chooses not to live in are not the royal household that's the posh part I don't work for. They are the royal palaces, those which in some cases have been open to the public for many, many years. We curate these 6 currently. And my job as food is storing, it is so simple it is incredibly complicated. I am supposed to look at the history of our monox, their pwysig iawn, â hyn sydd gyda'n gweithio i waith yn lle Sul ystoedd y law ar toys ym ym hanfydd. Mae gallwn yn sy Eisiellon Gymraen sy'n gobeithio'r dra iawn eich cyntaf iechyd a bwysigiaeth conversations o'ch cyflwyster ... g onder fel Haef Nd remarkable drwy nodiwr Roedd gyrffeau Dam oedd Iedd wedi Awl Shrun yr Aelol, ar gyfer Tal P Gympridd Del Cig Shah oedd ein cyntaf oüll Roedd Cyffredinol. Mae Darren Rose dim hanerdol ar maen nhw. Gei gael cael Requ whistle M36 i, gan gweld Grandma Mr Rae, gan dddur prizewyd ar gadog pwysig. mae'n bwysig o ddechrau. Mi fyddwn i wneud o gweithio i chi'n hoffi'n fawr o'r arddangos, ond rwy'n meddwl i'ch digwydd o choclwch. Mae'n gweithio'r projectau o'r ddweudio a gweithio. Gweithio'r projectau, mae'n ei wneud o'r cyflwyno, mae'n gweithio o'r gweithio, mae'n gweithio'r lexir o'r hoffi. Mae'n gweithio'r bobl o'r hoffi o 18 mlynedd. a'r angen i ymddi gyfan i'w gweithio ar y cyffredin yn ddod y cyfnod ychydig i gydag y chynyddiadol, yw'r ysgol yn ymddi i'w gweithio. Dw i'n meddwl i, mae'n weithio. Mae'n holl am y tîm, mae'n meddwl. Mae'n mynd i gydag, ac mae'n meddwl i'r mynd i'r hyn yn ei gwybodaeth. Maen nhw'n cael ei fod yn fwy ystod yn gweithio. Pryd y gallwn gwahoddau'r cyntaf, lle'r gwahodd ar y dyfodol y sydd wedi'u gwahoddau. Mae'r cwylwyddoedd i'r lle'r oedd yma yn gweithio'r cythigyn. Rhaid i'r cwylwyddoedd, yna'r gwahoddau'r argyflwyngau'r argyflwyngau. Rwy'n gweithio'r gwybod yma yn y cwylwyddoedd. Mae'r ffordd maen nhw'n cael ei gwestwynt arall. Os blomwch chi'n gweld, blomwch chi'n gweld yma. Yn ddifrif o'r meddwl yma yn edrych, y teimlo, y dyfodol sy'n hefyd yn ei wneud, yn ei ddweud, oherwydd mae'n gweld, yn i, ac mae yna rhai o'r honno hefyd yn ymwysig o Henry VIII. Mae'r hunai yn ymdweud ac mae'n gweld, yn ddweud ond rhaid, y cyfnod ar y cyffredin yn fawr. Ond rhaid i'r cyffredin. Mae'r hunain yn amwylo'r cyffredin yn 2015. Mae'r cyffredin yn ddweud 500 o'n Gymryd. yn gynhyrchu cywreist ac iddynt cysylltu'r bwysigau. Felly mae'r bwysigwch yn farakol i gydych chi'n hyn ymgyrch, na chael ei bod yn cael ei wneud gyda'r gwybod i chymeli. Rwy'ch gwybod gyda'r gwybod eich llwyten sy'n iawn, ym June Brindley, byddai yw dyfynydd hynny?manshipwch fel hyn byddai hynny wedi cyflym. Mae'r bwysigwch hul yn cyfwyrdol i ni'n viw. yn mynd arlasio'r gwahod, byddwyr efallai gwahodd dda'r gweithio sut lle. Mor byd yn wych i gyd yn y gweithio hynny'n ddim. Felly gallwn i'n cael ei amlun yn ddigonol. Y gweni yn ei gwahodu mynd â'i cymryd yn y ffoedol, mae hwn yn ddigonol i'r palysau gyda'r palysau gyda'r cyfeirio eraill. Mae oes wedi cael ddigonol i'r palysau gyda'r gyfer rwynt. Mae hynny'n ddigonol i'r bwroch. Mae'r cyfnodd yn chelyw'r cyffredinol yn gwybod am y ddweud y cyffredinol mae'n dweud am dweud losol. Mae'n gweld y pethau'r pethau. Ond mae'n gweld bod y griffredinol yn ei gweithio'r cyffredinol ar y palysau. Mae'r cyffredinol yn yw'r newid arall. A phosbun, mae'n gweithio'r cyffredinol yn y ddwy flynedd. Mae'r cyffredinol yn y ddwy flynedd, mae'r cyffredinol yn y ddweud yw y tynnu yng ngyfrifol o'r proiect. i'r pethau o'r hanes. Felly mae Mary wedi allan, mae'r peth hynny yn bwysig y llwyddo palys a ddod o'r ddiddordeb a'r newydd Crystafol yn y ddechrau. Felly, rydych chi'n gweld i'r palys yma, ac y pethau ar gweinu, rydyn nhw'n wedi cael ei ffordd o'r gweinu. Ond y clywed i'r gwneud yma, mae'r ystod yn ôl i'r honno ar gyfer George I. A'r progexau yma yma yngydig yng Nghaerfodd Chocolau. ac ydych chi'n dweud bod yma yn Hampton Côr yn gweithio'r rhain. Mae yw choclwch gyda'r palau arall, ac mae'r choclwch gyda'r choclwch gyda'r Charser II a'r hyn o'r ystod o'r Rhain o George III. Ychynig o'r ddweud o'r rhain o'r llyfrnau rhagorau, mae'n gwneud yn ystod. A mae'n gweithio'r llyfrnau a'n mynd i ddod o'r choclwch gyda'r choclwch, a'r cyffinia llyfrnau cyffinis, a mae'n diwyll fryd â'r rhain. Mae'r rhain i'n gweithio arall o'r rhain yn teimlo chi'n llyfrnau rhagorau. Mae'n gweithio'r llyfrnau rhagorau a'n gweithio'r llyfrnau rhagorau, mae'n gweithio fwyllach i gyd yn llyfrnaf. Mae'n gweithio'r llyfrnau rhagorau. A ydych chi'n ceisio, mae'n gweithio. Gwt i'n gweithio ar y gynedd, oedd ddwy'n colladau ac mae'r honno dwi wedi gwneud y projec o morph. Rydym ni'n rh 不lyniad mewn pob gwynyddu o'r recordreig o'r gyfan Chalklack Hitchen? Pan oed,llyw am y glwmp yn na bwrs ynghyd o ddenascoliaeth ei ddweithiau. Roedd yn gweithio yn fawr o adnoddau'r recordreig. Roedd yn fawr i'n ddweithiau i ddechrau'r recordreig. Mae y gallai amddangodd gweithiau a'r cyffreddau sylwyddaucode你的 when they wanted people to come in and chocolate court Cesarec would have been the same if we could find any evidence for it being true could one find it and could you find anything about the people that what they did and if so could you put it back together in a way that the public could have look at and understand so that's what we set off during that we can hit to put things in context thatแลxor about chocolate. Apart from a lot of you Côr yw'r cyffredin iawn. Mae'n meddwl i cwylwch. Cwylwch yn enwedig y Brith yn y ffordd ymlaen, yn y Cymru, mae'r teimlo i'r cwylwch. Mae'r cwylwch yn y brith yn y ddechau i'r cyffredin iawn, i'w dweud i'r cyffredin iawn i'w ddwy'r cyffredin iawn. Mae'r cwylwch yn y ddechrau, mae'r 1640. Cwylwch yn y dweud i'r cyffredin iawn. Mae'n gweithio'r gweithio, mae'n dwi chi'n Gweithio'r gofal yn y gweithio'r gweithio'n gweithio, ond mae'n ddim y gallwn i gydag. Ond mae'r ystyried i'r choclad ar hyn. Coclad ar hyn yn oed yn ymgyrchol ac yn ymgyrchol. Mae oed yn gweithio. Mae ymgyrchol yn ymgyrchol yng Nghymru 18 Llywodraeth. Fyng yw ymgyrchol oedd yn cael ei wneud o ddod yn ymgyrchol. Mae ydych chi'n gweithio'n gweithio eich bod yn gweithio'r byw ymgyrchol y clwp, rydyn ni'n bwysig eraill y cadw o gwybeth, ychydig, am ychydig oedd yn y bydol yn gweithio. Mae o'n meddwl allan o'r ddechrau, o hyn sy'n rhyw fawr, oherwydd allan o gofynau o ddim yn dysgu y ei menu. Mae'n holl o'r llyfynol, mae'n ddull yn ddysgu'r llwyth yn olygu gan maes mwyaf dysgu yn cael eu gwneud ymddangosol. Ond, y cwylwt yn olygu'r llyffyn o'r llyffynol ym mhwyng. The reason it's so expensive is coffee can grow rather alów places around the world but need a fairly warm climate. Tea will grow outside here, it's only a community bush,but chocolate needs a very small band of 12 degrees either side of the equator. This means that it doesn't matter how many colonies you have, and people like chocolate have a lot of colonies. If none of them fall into that band you cannot grow chocolate. yn ei aethaf sydd beth cymrydych. Y ddyn nhw sydd helpu ddim yn yusta ffIND, a'r ach Margaret yn ychydig roedd eich Tychent. Yn ym un pond ac yn gyfer tîm, mae'n oeddo cwmp sydd mewn tîm. A wnaeth yn bobl beth yna. Mae'r ach或dd wedi'u ach mae'r ach o'r ach o'r ach. A'r cwylwch agorwch yn gyflawn ar y pwlad. Felly, rydyn ni'n cyfnod arwad, a llwyddo'n unrhyw oír pryd, a'r cwylwch yn fawr iawn, o gyda'r cyffredinol. Rydyn ni'n gwybod i'r roi cyflawn yw'r awr ystod gyda'r bwlad. Those purple and yellow pods there, they're kakode pods. That's what appears on the tree and the beans there are kakode beans. The white pulp in that cut one is probably what people did first. This is so far back in Sun Nou American history. No one has any idea when they first discovered that you don't just eat the pretty white fruit, which apparently tastes sweet and somewhat lychee-like. We presume everyone spat the pips out. That's all they are. What we don't have is any information on who decided I know what we'll do, we'll roast those pips and see what happens. We're missing a little bit. But it's the pips of the fruit which create the chocolate that we know. Oops, go away, go away. The other interesting fact that is another lecture entirely, is chocolate comes with its entire own paraphernalia. That's a beautiful Mayan chocolate jar. If anyone's quite well up on the upper town of Mayan, that's his chocolate there, apparently. That's a screw-fit piece of ceramics. It's a gorgeous piece of work. And yet, for no apparent reason, we're coming up with one, everything about chocolate paraphernalia is ignored in the West. We take teaballs and teapots from the Chinese. We take coffee pots and coffee cans from the Arabs and copied them. But we take nothing from the native society that produce chocolate. Everything about chocolate in the West is invented, probably for that very reason, they're natives. And in our ignorance, we consider there is nothing we can learn from them. Because everything, as I said, from Western chocolate is made up. This is a lovely little set of tiles. We don't know which kitchen it came from. It's now in the Museum of Valencia. And it shows some servants about to serve chocolate. I find this nice and confusing. We have the man there with his cups of chocolate. All they've done about cups is made teaballs taller for chocolate. And for some reason, that chap's spilling one. I keep trying to come up with stories. I think it might be the fairy tale of the falling duck and the chocolate cup, but I haven't written it yet. I'll come up with something for another lecture. Do you remember that cup of falling chocolate, though? It's quite important. Not only do we invent all the paraphernalia, but we also invent the word. We're used to the word chocolate. It is a word that the Spanish gave us as a sort of misfit from the words from South America. My Yucatan Mayan is very poor, but apparently their closest to chocolate that I can do is cacachwata. I am told, and forgive me if there's any Spanish speakers in the audience, that the huat part doesn't sit comfortably on the Spanish palate. So if you use an Inca word for water, because that's what that part of the word means, atl is much easier is better to say. But if you're Spanish, caca atl, in fact caca anything for a brown drink, doesn't go down very well. So it helps to put a chip in the front. So just in our 3,000 mile journey, what started off as a bitter foaming, often dyed red drink called caca flat, arrived in the West as a warm, sweet drink called chocolate atl. We were trying to find out about the chocolate kitchen there, and we were sent off in different directions, and I'm going to have to praise our interns for a lot of this, to see what we can find. And before we tracked down the chocolate room, we tracked down the chocolate maker, in fact several of them. The king's chocolate maker during the heydays of Hampton Court's chocolate kitchen was Mr Thomas Tosier, and he refers to himself continuously as chocolate maker to the king, and he manages to chocolate maker for George I, and very briefly George II. We even found the previous, his previous incumbent, the beautifully named Solomon de la Fe, he worked under Queen Anne. What we haven't been able to find is anything about these people. When we came to the end of our project, we were very lucky to be given some extra research time. What's the most asked questions when I take this out to evenings like this? And people kept saying, where does Mr Tosier come from? You don't just wake up one morning as the king's chocolate chef. You must have a route to that. And we cannot find anything about him. We have his work under the king and his will. He either came from nowhere special, unlikely. Someone's just lost it, no one cared. Not always, every generation doesn't care as much of us about finding these. Perhaps he hid his route, perhaps he doesn't want us to know what his humble beginnings were, but we can find out nothing about him. But as a chocolate maker, he did very well. You're probably not going to be able to piece anything out of that way. He dies 1739. He leaves 10 pounds sterling to virtually every member of his family. Nieces, cousins, all sorts. He leaves a house to one of his servants. There's a little house down in the west country. He does very well out of chocolate. He isn't just the king's chocolate maker. He's an entrepreneur. He owns a chocolate shop in Greenwich, a chocolate house in Greenwich, in Chocolate Lane. We finally tracked it down. It's now a resident. There we presume there was a big royal sign out saying, I make the king's chocolate. You can try it here for a price. And it was one of these rather risqué nightclub sort of places. We know a lot about that because of Mr Tozier's wife, Grace. She turns up equally in one. The large picture there, the gentleman's magazine. Mrs Tozier is an it girl of the early 18th century. People want to know about her. And some clues about the chocolate business. When Thomas dies, she remarries. She continues the chocolate shop, but she doesn't change her name or it. So it obviously was a brand worth keeping. Tozier's chocolate shop carries on. As you can see from the small cutting there, she's doing well enough to have a new dance floor put in for the king when he comes for his birthday. When she dies about 30 years after Thomas, she leaves £3,000 in her estate. Chocolate is good money at this time. She's in the gentleman's magazine there, by the way, because apparently the ladies of London would like to know what Mrs Tozier is wearing this year. And if you feel you need to dress as Mrs Tozier, the page opposite, which we don't have, says that this year she is in a fine new hat, some new leather gloves, and a fulsome floral bosom. That's the look of that year. While we're messing around with who worked there, one of our interns called Charlotte, who was sent scuttling off to the public record office to see if we could track down the room. And this was the document, with only a year to go, that she finally found. A list of the rooms of Cloister Court, which is incredibly useful, because it starts from the Queen's staircase, somewhere which we have and we know of, and it works its way around. And when you get to room number eight, you get the chocolate room. And this was our Eureka moment for the entire project. Finding the people, finding the trades was wonderful, but being able to track down from Wren's designs which room they meant the chocolate kitchen was quite something. What we wanted to do, though, was see what we could do when we found it. This is the first room on the list. That's why I just tell everyone I want this room. The rooms in Fountain Court were the spice kitchen. I need a petition started so we can move the toilets to somewhere else, because I think the spice kitchen would be just as interesting as this and probably contain all sorts of apothecary equipment and small stills and so on. But every time I ask they say, no, no, no, we need ladies' toilets. Not so good. Second on the list, if you... There's not much left. See the little scar on the wall there. Door number two, this is Wren's office. Tee in Fountain Court, because there's a cafe where I'm standing. You're stood in what was once Christopher Wren's office. And then down in the far corner is the chocolate kitchen. These yellow marks were our guesses at the start of the project. We were getting quite random, really. We got six there, trying to work out where we thought it was going to be. Charlotte's map finds out that it's that one there. When we walked in there, there was a bit of a quandary, because it was absolutely stacked with dexion, iron-racking, lots of those. And if any of you know about our flower festival, that seemed to be where all the vases went. It was full of vases and oasis and all sorts. Absolutely rammed floor to ceiling. Myself and the other creator, Polly, were thinking, okay, when we get the technicians to move all this, it's a very small room, it's not going to be very easy to explain with just trolling over ideas of how on earth you're going to make this interesting to people. And so fantastically, when we went down the day after the guys had moved the shelving, we found the kitchen was still there. An absolute piece of chance. There is no reason this kitchen has survived for any other reason than it was never in someone's way. No one cared. You still have, if you take the top off the wood there, a set of charcoal stoves. A shelf pierced with slots. It's a spit rack to allow you to hang spits up on the wall. You need spits for roasting chocolate beans if you're going to do that in full drums. It has a fireplace there and an entire fan crane mechanism. I don't know if you're familiar with these. It's a fan that's up inside the chimney. It's not really the heat of the fire, it's more the draw of the fire. So the air sucked through the room by the hot coal fire, spins the fan and turns the gearing there, meaning that you have a mechanical system burning the spits. The chap that we brought in to have a look at that made two comments. One, it's in fantastic condition, it doesn't look like it was used very much and he says, dear me, I've never seen one geared to spin that fast before. Whether that's a trick to chocolate or not, I've still yet to find out, but we have one of the fastest spinning spits and that would make sense if you have a drum roaster on there. Shelving was still in there and oh you can only just see it, this folding table here is a Georgian wall mounted folding table that someone had just folded down. And there it still was. Hinges were a little bit rusty, but otherwise everything was fine. The room I thought was the chocolate kitchen because I can stand here and tell you why I was wrong turned out to be what they called one of the chocolate rooms. The spaces allotted to Mr Tozier. He was given a two room suite and this was one of them wherein he used it as his home, his office and probably the room in which he set out the dish of chocolate each day. The King's chocolate here probably doesn't do very much at all. His staff do it. They produce chocolate, I'll tell you how in a moment, and then each morning produce one pot of hot chocolate for His Majesty. It's probable that that pot of hot chocolate is brought by his staff down to this room where he stands there surrounded by all the beautiful chocolate pots and cups and goes, hmm, Thursday I think the porceling sets a lovely tray, gets the glass dishes out, puts the biscuits out that go with it and then very unusually because Cook's don't normally do this takes it through to His Majesty. Cook's hand things to Footman and staff but not the chocolate here. He seems to be in a unique position. He has the King's ear. It makes him a very powerful man because he takes that pot of chocolate over to see him each day. When I've thrown this open there were suggestions at another talk. Someone said, well, there's another possibility. Perhaps he was one of the few people who spoke German. Perhaps he just liked to chat. There are many reasons we don't always think of. Now we have the rooms, it's time to fill them. If we're going to interpret them, we want them filled with objects. Currently, and I agree, if we are trying to interpret a room to look as it did, we do not subject artifacts to that space. The environment is not good for them. They are in other exhibitions under cases so you can see that elsewhere. You fill the room with copies which are brand new so they look as they would at that time. I needed to go searching off to see what might have been in a chocolate kitchen. We have wonderful accounts like this one that give us lists of objects that turn up in generic kitchens at the time. We got lucky with accounts of other chocolate kitchens. This one is the Earl of Tankervilles. In the middle there he had himself a wealthy man. He had himself a chocolate chef and luckily in his inventory there's a list of the items that he needed for his chocolate kitchen or what was in there. Two chocolate pots, fire shovel, tongs, all that sort of thing. Using the system that I normally use you take your written information and cross reference it with images of the time. This is one out of the Royal Collection that we have showing the auctioning off of John Bull's kitchen and then usefully for people like me he's waving around a gridiron I want to know what a gridiron looks like. There's the coal scuffles and shovels and things that one needs to reproduce. That very usefully there is the sort of spit that fits on that gearing system. It has a wheel at the end for the chain to go around. So if you cross reference your written works with your pictorial evidence and then with your archaeology you start to get some idea of what you want. For me this was the best archaeological project we've had. Most of our other reconstructions have been somewhat generic. The Tudor kitchens have nothing left because it's a functioning palace. My kitchens at Q that I worked on had very little. But this one was completely different because we had a assemblage in the store upstairs from the right date from the moat outside where it's all been filled in and it contained a lot of rather interesting little pieces. I've only got three here. This one's a small drug jar arborello, a little pot that you would put spices or such like in. Lots of different fragments of those so lots of different patterns. Lots of handles left over from these little one-handed bowls, little porringes and very possibly a coffee or chocolate cup. There's the handle that would have had a base and then it carries on just a bit like a tulip. So from all of these we were able to see all the items we want and I often put in failure. I just finished commissioning the glass blowers. Beautiful pair of glass blowers who are down the A3 who start with reconstructing the glass for you. So when I said I wanted chocolate kitchen first thing they do is go and look up the constituency of glass from the 1730s and start making that. They asked me, what do you want on your bottles? What's the punt marks? We haven't found anything. I can't verify it. I need plain ones. And just after they finished them we found a GR. Next time I ask for bottles I know what the bottle should have had on the top of them. There were a couple of intriguing little comments about the king's chocolate drinking. One of the problems with the king's chocolate is it his private money. This is not public money. If I was working on the king's main kitchen I can tell you virtually every meal. Cross-reference those with the account books probably tell you what they're paying for oysters Tuesday and February. The king's chocolate kitchen is his own private money no one cares. So there's virtually no inventory of the accounting or the objects coming in. Just a few illusions to what was going on. A couple of chocolate pots silver and gold and a confusing mention of a set of six chocolate frames. I'll have to be scratching my head for a little while. Chocolate frame. Thoughts went down the wrong way to moulds because I know they used to cast the chocolate sometimes into circles and sometimes into the bars. Chocolate frame might be a mould. Then it was a little eye-opener in Albert Museum's collection and The Meck said no, we've got chocolate frames then cup holders and then I realised I'd seen some. I just knew them under the French and Spanish terms of tromblure or mancinero. Do you remember me mentioning that chocolate is dangerous for ladies? Well, this is a way of helping. The tromblure or chocolate frame is that little saucer there with a frame on it. Do you remember our gentleman who spilt the chocolate? We do not want to do that with an 18th century dress. Chocolate is mostly fat. So this little frame keeps that tall cup upright. It doesn't matter what you do, you can be bumped into. You won't spill it over your expensive clothes and we finally found something that wasn't similar but was actually there. So that sent me scuttling off to a lovely little project. There's the ones I found images of. There's a couple of surviving ones. I'd love to actually handle one, still haven't. And that sent me to our workshops where we spent a lovely few days casting and pairing and casting and pairing until finally they produced the chocolate frame that I rather wanted. I very much want one of these and I have to stand before you saying I still haven't saved up the money to get one for myself yet but I think I need one. And this carries on. We were working on the same with the chocolate pots. We had a couple of examples of chocolate pots that were made for them in the English style. These very tall pots, not the bulbous French thought. Wood carvers making the ouch making the handles experimenting with the various shape, their failures and slowly piece by piece bringing up a good copy of His Majesty's chocolate pots. Down on the ground there is the one thing that makes a chocolate pot a chocolate pot. I think I've told too many people this, this is not very good. If you ever see what seems to be an old coffee pot and you fiddle with the knot on the top up here you see there's a hinge there. It hinges backwards and reveals a hole underneath. This mill on Willinello goes in there because as you all know if you have a hot chocolate by the end of the cup it all sinks to the bottom. Well, the particles in 18th century chocolate are quite large. So by the time Mr Tozier has come through three rooms and got the chocolate to His Majesty all he does is pop in the whisk and give it that final flourish before he serves it and brings all the chocolate back up. Now of course everyone I've told is looking at antique shops for those so I haven't got a hope anymore. And we managed to fill Mr Tozier's room once more with chocolate pots and sugar casters, cups little drug jars, each one reproducing the patterns from the archaeological finds. Right down there are the little tulip cups. There's all the hangers back on the poranges. We were rather pleased with the way that all that had gone. It just looks lovely and it's nice to see objects back in their home, not upstairs but downstairs in a store room. Final phase though was to make some chocolate. There's no point in having a chocolate kitchen if you can't finish it all off. This was an immense stroke of luck. This was an evening like this evening only halfway through the project where I'm having a cup of tea outside and met a lovely lady whose work was transcribing the Earl of Sandwich's journals. And we're just chatting away and she's oh I've got the Earl of Sandwich's chocolate recipe if you'd like it. Yes I would rather like that. We got to go and meet the Earl of Sandwich as well. It was a very nice afternoon. Lovely fellow, but how do you take him for lunch? What do you ask him? We took him to the cafeteria and said do you want hot meal or? Sorry sir. But his ancestor, and this is two generations before the famous sandwich he spent £200 sterling on this recipe. So we're back to this fantastic expense and the thing that surprised me was the oils. So this is the smoothest of chocolates. They are distilling the oils of Jamaica pepper, cinnamon and aniseed out so that you don't get little bits. If you put cinnamon in anything there will always be microscopic pieces. This is the smoothest of chocolates. It's absolutely marvellous. We also discovered since this is to make something called master chocolate. You make up this and then you add it so it very much goes in the line of all trades that there are mysteries there are tricks to it all. So where to go? While we're waiting for other people to build the rooms you put cacao beans in a drum roaster. Same system as for using for coffee. In front of a large fire you rotate it and after about 15, 20 minutes of them being at around 180 degrees centigrade they roast off and suddenly from being nothing you get the most beautiful smell of chocolate that's your clue. They change sounds slightly because they go papery but you get this wonderful smell of chocolate and then you get a boring job which is why we now think Mr Tozier didn't do it. They have a paper-like skin on so you have to rub that away and you are left. You can now buy these in places like Wholefood with the central kernel, the nib of chocolate and that is pure 100% chocolate. 100% fat which is cocoa butter and it gives the products their beautiful taste. Only now can you go away if I inspire you and try this because 100% chocolate has started to appear back on the shelves. It is not the percentage that you see on chocolate bars. Modern chocolate has had the cocoa butter removed so when you see that percentage 70, 80% that is of half of it. Pure pure chocolate is a completely different animal and needs no other fat than itself and has a beautiful taste. You have to process it and again the other sandwich came up trumps because I've never seen that picture before. The one at the bottom here is quite well-known and well-published is not a woman, he's in fact a man as it says at the bottom and he is using a grinding stone. They saw the natives in South America using these stones and thought that they were entirely for chocolate. They are not, they're just querns. We gave up on saddle querns in Europe quite a long time ago but because they hadn't put two and two together they thought you need these to process chocolate. You put a charcoal stove underneath it and you grind the beans on top even by the time of my chocolate kitchen I was reading recipe instructions where they said you know what you don't really need these. Get yourself an iron mortar put it next to the fire until it is only just tolerable to touch and that will do fine. When you grind it in you get a miracle because as you grind the powdered beans they suddenly liquefy they release their half fat the cocoa butter starts to run and you get this gorgeous smell and this wonderful chocolate flying all over the stone and if you're not very bright you take a thinkerful. Chocolate has no natural sugar it is absolutely beyond bitter. Your face like a rat's bum is awful stuff. You still never remember that the first time I do it each year I think that looks nice, no it doesn't. But what you do with that is you scrape it from the stone and put it onto wax paper to form what the recipes describe as cakes. Same as a cake of soap, a lump and it is these cakes which were traded in the shops of London very difficult if you're reading letters and someone said I went to the strand to buy some chocolate cake your brain would go off in the wrong direction they look like huge chocolate buttons and it is those that Mr Tozier is probably taking from his cupboard each day popping two or three into the pot cooking up with water or milk whatever recipe, the different oils or different spices often just vanilla and sugar and making into that hot chocolate as we like playing around if you're going to put chocolate and sugar together and you want that original taste and you spent all this time grinding the chocolate then you really need some original sugar and so I got into trouble because there aren't many places that make sugar loaves anymore and the best place you can get them sadly probably not at the moment is Iran because there are small parts of Iran that still make sugar loaves so you can have them sent to you and that means you're the man that has to go down to Royal Palace Security to explain why there is a box of six cone shaped items from Iran that they would like you to sign for why are you doing that one again the sugar is nice though while we were playing around trying to get the taste right our lovely conservators were working on those rooms I showed you a rather nice kitchen but it did need a lot of work all the wood it needed stabilising a little bit of repair brick work maintaining so they brought the chocolate kitchen back to life and what we didn't want to do with hide it when you have such a unique feature don't hide it don't cover that in things put all the objects in another room because I didn't want anyone to miss the unique survival that we have there's the table put back up so the best place to put the objects was the room opposite the room opposite this shows again just how lucky we are with the chocolate kitchen the room opposite, wow six foot away was the last room to be destroyed in the 1986 fire so one more room and we'd have lost the chocolate kitchen as well so this one had just been replastered in 1986 when the king's apartments burned down has no historical features left in it so it's that room opposite it so you can stand in the middle and look at the original and see how it survived and look the opposite direction and see what's in there I got a lot of fun you mentioned earlier that I designed things so I got to play with designing up based on all the woodwork from the other kitchen all the objects that were coming in to stop that so shelving and cupboards matching the room opposite just reversing everything allowed us to put all the things back so you get to see the two, one and the other if I have any museum people here you might be a little worried though if you haven't done experiments with cooking chocolate there I built myself a stove and I've just said we were underneath the 1986 fire of the king's apartments now beautifully restored this is going to go down badly well I do have to work within the world of modern museums and I can't just go putting a charcoal stove back in so I had the exciting job of designing a set of stoves that would heat up chocolate without having a naked flame so I got an engineering company to build a steel frame cladded all in bricks and that has an element underneath my chocolate stone so that it is complete it's not controllable it is just not dangerous what I didn't have put into it is a temperature control because whoever you cannot turn charcoal down and I wanted the same constraints so this thing just gets hot that's all it does, it just goes up and up you have to move the stone around but at least I can do it in the right space complying with all the legislation and our health and safety man doesn't go absolutely spare that I'm going to burn the palace down again and it was the same thing I've just mentioned I tried desperately to work out how do we present this to people without ruining that space and we went very modern we decided the best thing to do with a room you don't want to hide is to project things onto it on and off so you can see both so some very clever people set up a mock-up of the chocolate kitchen being used with some of our interpreters they filmed that even cleverer men did something called a blue screen and built up the chocolate kitchen that fireplace isn't there this man is trying to work out where the light is going to go this is already being projected on there doesn't exist they're trying to work it all in so that now when you look across you still get to see the room but in a slightly faded image you get to see the goings on of the kitchen without hopefully hiding the original features as we see them and even more subtly and I'm proud of this in the room itself I had this desperate need to reproduce a moving Deedaro that my mother always wanted to do I love the drawings of Deedaro's encyclopedias they would have best explained what goes on in the kitchen and I could imagine a drawing of that kitchen with all the little arrows pointing to the table in the shelves and so what we have is an audio visual I can't play it because it never plays on anything but there's a still from it that draws in all the objects that would have been there there's that spit rack with the spits hanging from it and these appear and disappear with the labels on it so hopefully at no point are we accused of having hidden the original but to those that don't know what they're seeing it explains it rather well so I hope so if you happen to wander down to Hampton Court in the next few years you might stumble across me explaining things to people in the kitchen if I'm not sure when it's happening next year if you get really lucky or unlucky you might stumble into the chocolate kitchen when I'm getting to make some chocolate which is rather fun but even better because of this festive season I've included a note in the corner there which you might want to write down because if you go online and type in chocolate port cook-along I will very happily show you how to make a drink which I recommend for Christmas do not make hot chocolate with milk make it with water like the Spanish used to make it with port it is very good how can it be wrong? chocolate, port, two good things make one better thing I won't tell you how to make it have a look online and enjoy your Christmas thank you very much