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the banquet
@
the food series
general editor
Andrew F. Smith,
American Forum for Global Education
editorial board
Joseph Carlin, Food Heritage Press
Jessica Harris, Queens College
Karen Hess, Independent Writer
Bruce Kraig, Roosevelt University
preface v ii
ack nowledgments x iii
chronology x v
8. Nations 118
9. Staff and Carving 139
notes 183
glossary 199
bibliography 205
index 213
preface
@
S ome men are born with titles, some achieve titles, and some have
titles thrust upon them. The last of these explains The Banquet. It
works, though. The word itself derives from a board or bank mounted
by a street performer or mountebank, or set on trestles for dining. Thus
banquets could be staged anywhere, because in Renaissance-era Europe,
homes lacked a fixed room with stationary tables for dining. The term
took an odd twist in England, where it denoted the final portable dessert
course of sweetmeats and fruit. Elsewhere it meant an entire meal, the
grandest that could be imagined at European courts. So important were
these meals that they were recorded for posterity in cookbooks, menus,
and as rules for kitchen organization and table manners. Just as weddings
and gala events are photographed or videotaped today, banquet literature
affords us a snapshot of the past, admittedly edited and embellished, but
nonetheless revealing the aesthetic preoccupations of our forbears. For a
fleeting moment we are able to peer through the brocade curtains of
the past, to catch the wafting scent of cinnamon and ginger, to gaze upon
the glimmering table settings and towering sugar sculptures, and perhaps
even to imagine the vibrant flavors and sultry textures of this brilliant
bygone cuisine. My goal here is thus partly voyeuristic. But because atti-
tudes toward food also reflect deeper thought structures and are essentially
expressions of identity (of self, community, state), then this tale is merely a
history of western Europe told through the lens of food and fine dining. It
is a history of ruling elites in a period that was changing demographically,
politically, and of course, culturally.
Moreover, the cuisine analyzed here is largely unknown to Ameri-
can readers. Aristocratic diners in sixteenth- and seventeenth-century
Europe indulged in what are arguably among the most elaborate cre-
ations ever to have emerged from a kitchen. There were monumental
pies flecked with gold leaf, roasted fowl redolent of spices and rose wa-
ter, savory stews brimming with unctuous morsels, truffles, nuts, and
candied citron. It was a cuisine that in some ways will seem familiar:
[ vii ]
chicken, veal, and fish were favorites, as were vegetables like asparagus
and artichoke. In other ways, it will appear utterly foreign. The flavor
combinations will shock and surprise, as will the predilection for organ
meats and whole calves’ heads. Above all, the sheer volume of food and
the structure of the meal will perplex our modern sensibilities.
This cuisine was anything but monotonous. Aristocratic diners con-
Preface sumed a staggering variety of ingredients, mostly local and seasonal
and much of it wild, but some was imported from the far ends of the
earth. Cooks and banquet managers paid surprising attention to the
freshness of their ingredients and sometimes sought to preserve sim-
ple pristine flavors and aromas. They were also keen judges of food’s
provenance, knowing exactly where to find the best seafood, and the
choicest cheeses, fruits, and wines. Many of these foods were assigned
names by place of origin, much as we do today. Food workers invented
new cooking techniques, implements, serving methods, and styles of
presentation that truly elevated the meal to a form of high art.
Cooking in the late Renaissance was also quite different from medieval
cuisine that preceded it, as well as from French haute cuisine that fol-
lowed. Perched between these two grand traditions, the sixteenth and
seventeenth centuries have often been overlooked in culinary histories of
Europe. But in these years there appeared some of the largest and most
comprehensive cookbooks ever written. Dining manuals, carving guides,
and what we would call general food reference works—many comparable
to those being published today—were best sellers. There was a thriving
culture of food all across Europe reflective of the general artistic efflo-
rescence of the era, and coinciding precisely with the styles art historians
refer to as mannerism and the baroque.
The neglect among food historians has left the late Renaissance to be
treated either as a coda to the elaborate cuisine of the late Middle Ages
or an actual hindrance to the culinary revolution of the mid-seventeenth
century. Only following La Varenne, when a stock and butter-based cui-
sine replaced the strange sweet-and-sour and spicy (backward) medieval
flavor preferences, could cooking attain perfection, these authors insist.
(Flandrin, Revel, etc.)1 In their view, only when food would taste of itself
should the term gastronomy be applied. The tendency has been to treat
culinary history as a series of advances leading toward the present: here
is the first roux, the first béchamel sauce, the first modern service in
courses. This is a positivist approach that has been abandoned in practi-
cally all historical subdisciplines, and now that culinary history has come
of age, it is time to apprehend the past on its own terms. That is, we
[ viii ]
must evaluate this cuisine as an expression of the culture that produced
it without reference to our taste preferences. Such objectivity will be
absolutely essential as we mentally tuck into some dishes that will, to
our sensibilities, seem perverse if not downright repulsive.
Rather than focus on such oddities for their shock value, the goal here
is to determine why people ate as they did and what it reveals about them,
their aesthetic preferences, values, fears, and prejudices. A good deal of Preface
energy will be devoted to describing ingredients and aristocratic dining
habits in detail. This is not so that one might re-create banquets of the
past, though there is nothing wrong in doing so, but rather to understand
the importance of dining as one among the many resplendent art forms
of the period.
By treating cuisine as an art form, I hope to open further avenues
of inquiry for all periods of culinary history. For one, the language of
gastronomy is fairly threadbare and lacks a good critical vocabulary for
discussing food. Modern professional chefs have their own terminology
for describing recipes and procedures, but historians have little to work
with when comparing stylistic periods, certainly nothing compared to
art historians or music historians. Speaking of cooking as an art, this is
not merely to suggest that cooking is difficult and requires great plan-
ning and imagination and therefore should be considered art rather than
mere skill, but rather that the same aesthetic values inform all artistic
media. It should be possible, therefore, to borrow terms or even invent
them if necessary, in order to explain this cuisine as a distinct style. One
simple example will clarify the need for a precise lexicon. Musicologists
speaking of the madrigal refer to the way several separate voices each
carry their own distinct melody, intertwining and responding to the
others. Polyphony describes this without any further explanation. The
culinary historian, when facing the same stylistic approach to ingredi-
ents that compose a dish, has no such suitable term. Think of several
flavors, each distinct and pronounced, sharply contrasting rather than
melding to form a homogenous and intensified taste experience. The
sharpness of vinegar stands out against the sweetness of sugar, the warm
aroma of nutmeg and cloves, and the richness of stewed wildfowl with
fruit. Polysipid as an adjective or polysavory as a noun directly describes
this style. And not coincidentally, this way of combining discrete ele-
ments in a composition is replaced in music and in cooking at about the
same time, in the course of the seventeenth century. Such neologisms
will be found throughout the text, and the reader is kindly referred to
the glossary if the context alone should prove insufficient.
[ ix ]
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Speaking of aristocratic dining from the 1520s to the 1660s as a uni-
fied style poses certain problems. Stylistically this period covers both
mannerism and the baroque, before the classical tendencies of the era
of Louis XIV take precedence. These terms will be used throughout the
narrative, as will the phrase late Renaissance, not only because the culinary
arts bring to perfection many of the innovations of the fifteenth-century
Preface Renaissance, but because no other suitable term for this time span ex-
ists. Thus as historians of drama loosely refer to the Tudor and Stuart
periods as Renaissance drama, so too will it be used for cooking, though
not without serious qualification. This period also corresponds nicely to
the history of culinary publication. It follows the appearance of the first
printed cookbook—Martino of Como’s Liber de arte coquinaria, which
was embedded in Platina’s De honesta voluptate of around 1470. This
is, in terms of style, the last of the great medieval cookbooks, but still
points the way to the next period. Its popularity alone through the six-
teenth century warrants some consideration here. The same can be said
of Rupert of Nola’s Catalan cookbook, which is still in most respects a
medieval work. This study ends around the time of La Varenne in France
in the 1660s, not because his cooking was truly as revolutionary as some
claim, but because the latter seventeenth and eighteenth centuries do
witness many decisive changes in the evolution of cooking. Because this
new approach to cooking was not directly felt outside France and to a
certain extent England for several decades, some titles published in the
late seventeenth century have been included—most notably the work of
Bartolomeo Stefani in Mantua in the 1660s, some banquet management
guides, as well as many English cookbooks of the same era, appearing
just before or during the Restoration.
Within this time, from the mid sixteenth to mid seventeenth cen-
tury, were published some of the most ambitious and comprehensive
cookbooks and dining manuals ever written. There were the works of
Christoforo di Messisbugo in Ferrara, Domenico Romoli in Florence,
and then the magisterial Opera of Bartolomeo Scappi. Shortly on its heels
follow the many books on banquet management, the scalco literature by
Giovanni Battista Rossetti, Cesare Evitascandalo, Vittorio Lancelotti,
and Antonio Frugoli, among others. There is also an extensive carving
literature written for trincianti, of which Vincenzo Cervio and Mattia
Geigher are representative. Outside Italy, coverage here will strive to be
as international as possible. There are the works of Lancelot de Casteau
in what is today Belgium, Domingo Hernandez de Maceras and Francisco
Martínez Montiño in Spain, and several extraordinary English cookbook
[ ]
authors such as Robert May and William Rabisha. As with the art of
the period, focusing on any single national cuisine obscures the very
international nature of culinary trends, and this book is intentionally
comparative across national lines. Having said that, readers should be
aware from the outset that this study focuses heavily on Italy, where most
culinary literature was written, and covers Spain, France, and England
and tangentially the Netherlands and Switzerland. German-speaking Preface
regions are only included when the texts are in Latin or when authors
discuss Germany. This is merely the result of my own inability to tackle
sixteenth-century German. There were several cookbooks written, and
Marx Rumpolt’s is the most important of these.
To clarify another point, I use the term dining in its modern sense, but
dining in the sixteenth and seventeenth centuries referred to a midday
meal. It shifted in subsequent centuries later and later in the day, so that
the first meal disjejeunare (to un-fast or break fast) eventually became the
evening meal. In the Renaissance the evening meal, supper or cena, was
normally the smaller of the two. Confusingly, a banquet, the grandest of
all meals, was usually held in the evening. The majority of meals analyzed
here will be banquets, in the broader sense of the term, but many will be
smaller suppers and even ordinary meals when authors describe them.
Lastly, there is also what must be considered an ancillary culinary lit-
erature and certain arts that indirectly describe aristocratic eating habits.
There are burlesque poems, depictions of banquets in paintings and espe-
cially food in still life, as well as a vast literature condemning noble customs
either from a medical standpoint or a moral and religious angle. There are
also books on individual ingredients or types of dishes—on wine or salads,
for example. Surprisingly, even titles that purport to explain dining habits
of the ancient Greeks and Romans end up saying a lot about contemporary
practices. Thus this book is designed to take account of any resource of-
fering clues about what wealthy people were eating, or wished they could
eat, even though it focuses on cookbooks and menus.
But what exactly is a banquet? Ottaviano Rabasco in his Il convito of
1615 offers the most complete taxonomy of banquet types. Normally the
banquet was merely an extended elaborate form of dinner, held around
noon, though he stipulates that it could be served earlier, two hours before
noon, at ten o’clock or eleven o’clock if no breakfast or colezione was eaten
first thing in the morning. Banquets could also be held in the evening, but
normally the evening meal, supper or cena, was held a few hours before
sleep, and so was smaller and lighter.2 Menus of the period do consistently
list both banquets and suppers. There were no hard and fast rules about
[ xi ]
mealtimes though, and sometimes even a lunch or merenda could occur in
the late afternoon. This was actually one of the most typical complaints
of physicians, that courtiers ate practically round the clock, and by the
clock, Rabasco reminds us, there were three that could be followed: “that
of the stomach, that of the [clock] tower, and that of the kitchen.” In
other words, though hunger pressed and the clock struck time, one might
Preface have to just wait until food was prepared.3
Rabasco also distinguishes between private banquets, intimate and
among friends, and grander public banquets. It is the latter that concerns
us most here. This was the time to show off the most exquisite foods, of
highest quality, in great quantity, and particularly showcasing produce
and wines from one’s native region, whether it be “salami from Bologna,
olives, confections or moscatello from Genoa, marzolini in Florence, in
Siena cheese from the Crete, marzipan in Piacenza, etc.”4 Marzolini are
cheeses, as are those from the Crete Senese, presumably something like
pecorino from Pienza.
As for the occasion, weddings were common enough along with bap-
tisms, but first place is accorded victory celebrations, reception of for-
eign princes or ambassadors, and even lesser occasions such as receiving
a doctorate or being ordained.5 The banquet guides make clear, though,
that the most typical form was the public reception of princes and mag-
istrates. Banquets are thus explicitly political in nature, and include both
overt messages honoring guests and more subtle interchanges of mean-
ing, as will be discussed later.
Before describing the details of topics such as kitchen organization,
ingredients, cooking methods, and the experience of fine dining in this
period, it would make sense to begin with a gradual approach to the topic
from a broad perspective, so that readers may grasp how this material will
be discussed. On the one hand, the primary intent is merely to describe
what foods were eaten and how they were cooked; on the other hand,
what these choices reveal about the past is also the topic here. Thus we
must begin with the broader question “why did late Renaissance diners
make the food choices they did?”
[ xii ]
acknowledgments
@
H onestly, offering thanks is the best part about writing a book. First
there is my pal Andy Smith, series editor, Willis Regier, director,
and all the people at the University of Illinois Press, for signing me on
with not much more than an idea. I am proud to be included in this food
series. Next, an enormous thank you to the International Association of
Culinary Professionals Foundation, Martini and Rossi, and Torani Syrups
for awarding me a juicy grant to research this project in Europe, as well as
to the University of the Pacific for an Eberhardt Research Grant. Thanks
to the eternal city of Rome, which proved more of an inspiration for this
book than I could ever have imagined.
Thanks to the staff of all the marvelous research facilities that invited
me to pore over their cookbooks: the Biblioteca Apostolica Vaticana, the
Library of Congress, and the Folger Shakespeare Library, where I was
overjoyed to find so many old friends and mentors still lurking, the State
Library in Sacramento, and a special thanks to Sean Thackrey, winemak-
er, for inviting me to use his astonishing collection of rare wine books.
Thanks to the wonderful staff at the Schlesinger Library at Radcliffe,
where I found my final two sources just under the wire.
I must also thank the people at Arnaldo Forni Editori for their remark-
able series of facsimiles and prompt service getting them to my desk.
This book would truly have been unthinkable without them. The same
goes for Tom Jaine at Prospect Books and to the fantastic Fons Grewe
Web site, where I found many of the texts used in this study. Thanks to
Thomas Gloning, whose bibliography and Web site proved indispens-
able. As always, a huge thank you goes to the Interlibrary Loan people
at the University of the Pacific and to Robin Imhof for tracking down
obscure books for me.
Then, thanks to all the people who have helped me along the way, col-
leagues in the history department and in modern languages and classics
for help with obscure terms. Thanks to our work study student Joseph
Nguyen for photocopying, downloading, and printing more pages than
[ xiii ]
would seem humanly possible, and thanks to Marilyn and Terri for their
years of support.
Thanks also to all my friends (I dare not say foodies) on the ASFS
Listserve, whose furtive ideas and rantings inspired my own in ways that
I cannot even begin to recount. Thanks to the many sundry assorted
scholars whose comments in symposia and conferences, from Oxford,
Acknowl Australia, and Italy, to Boston and New York, as well as my authors in the
edgments Food Culture series. I have pilfered ideas from all of you. Then, thanks
to those remarkable food historians I have stumbled upon by chance:
Terence Scully, whose translation of Scappi should appear soon, Timothy
Tomasik, who lent me copies of the sixteenth-century French cookbooks,
Rachel Laudan, Barbara Ketcham Wheaton, Johnna Holloway, and Fiona
Lucraft for getting me a copy of Le grande cuisiner. Thanks to Suzanne
Rindell and Alice McLean for reading and responding to ideas.
Lastly, to my family, Joanna, Ethan, and Benjamin, Sadie, Persephone,
and especially Bumblebee and Maxie, with whom I shared many nibbles
and my lap—we will never forget you. Thanks for once again tolerating
my edomania and giving me the time to write. And thanks to my dear
dear friends with whom I absolutely love to eat and drink, especially
Lisa, who patiently listened to practically every idea in its infancy.
[ xiv ]
chronology
@