The food historian Jennifer Stead writes that many visitors to England reported that the servants were clean and well turned out. In The Art of Cookery, Glasse departs from many of her predecessors and does not provide a section of medical advice—a pattern followed in 1769 by Elizabeth Raffald in The Experienced English Housekeeper—although chapter ten of The Art of Cookery is titled "Directions for the sick", and contains recipes for broth, dishes from boiled and minced meats, caudles, gruel and various drinks, including "artificial asses milk". Glasse also did not give instructions on how to run the household. In her preface, she writes: I shall not take upon me to meddle in the physical Way farther than two Receipts which will be of Use to the Publick in general: One is for the Bite of a mad Dog; and the other, if a Man shoud be near where the Plague is, he shall be in no Danger; which, if made Use of, would be found of very great Service to those who go Abroad. Nor shall I take it upon me to direct a Lady in the Oeconomy of her Family, for every Mistress does, or at least ought to know what is most proper to be done there; therefore I shall not fill my Book with a deal of Nonsense of that Kind, which I am very well assur'd none will have Regard to. Glasse aimed The Art of Cookery at a city-dwelling readership and, unlike many predecessors, there was no reference to "country gentlewomen" or the tradition of the hospitality of the gentry. The Servants' Directory was aimed solely at female members of staff, and each role undertaken by the female staff was examined and explained fully. The historian Una Robertson observes that "the torrent of instructions addressed to 'my little House-maid' must have severely confused that individual, had she been able to read". Legacy Information about Glasse's identity was lost for years. In 1938 Dodds confirmed the connection between her and the Allgood family in an article in Archaeologia Aeliana. The Art of Cookery was the most popular cookery book of the 18th century and went through several reprints after Glasse's death. With over twenty reprints over a hundred years, the last edition was well into the 19th century. Glasse's work was plagiarised heavily throughout the rest of the 18th and 19th century, including in Isabella