Doubtless to them, entertaining, being a perfunctory affair, becomes very tedious. Pomp is not an amusing circumstance and they get so tired of it all that when off duty kings and queens are usually the most plainly dressed and the most simple of mortals. The "age of strut" has passed away. No one cares to assume the puffiness of Louis XIV. or George IV.
Royal entertainments, however, have this advantage, they open to the observer the historical palace, and the pictures, gems of art, and interesting collections of which palaces are the great conservators.
It would seem that Louis XIV., called le Grand Monarque, Louis the Magnificent, was a master of the art of entertaining. Under him the science of giving banquets received, in common with the other sciences, a great progressive impulse. There still remains some memory of those festivals, which all Europe went to see, and those tournaments, where for the last time shone lances and knightly suits of armour. The festivals always ended with a sumptuous banquet, where were displayed huge centre-pieces of gold and silver, painting, sculpture, and enamel, all laudatory of the hero of the occasion.
This fashion made the fame of Benvenuto Cellini in the previous century. To-day, monarchs content themselves with having these centre-pieces made of cake, sugar, or ices. There will be no record of their great feasts for future ages.
Toward the end of the reign of Louis XIV., the cook, the cordon bleu, received favourable notice; his name was written beside that of his patron; he was called in after dinner. It is mentioned in some of the English memoirs that this fashion was not unknown so lately as fifty years ago in great houses in England, where the cook was called in, in his white cap and apron, publicly thanked for his efforts, and a glass of wine offered him by his master, all the company drinking his health. This must have had an excellent effect on the art of gastronomy.
Madame de Maintenon, whose gloomy sway over the old king reduced the gay court to the loneliness of an empty cathedral, threw a wet napkin on the science of good eating, and put out the kitchen fires for a season.
Queen Anne, however, was fond of good cheer, and consulted with her cook. Many cookery books have the qualification "after Queen Anne's fashion."
Under the Regent Orléans, a princely prince in spite of his faults, the art of good eating and entertaining was revived; and he has left a reputation for piqués of superlative delicacy, matelots of tempting quality, and turkeys superbly stuffed.
The reign of Louis XV. was equally favourable to the art of entertaining. Eighteen years of peace had made France rich, and a spirit of conviviality was diffused amongst all classes. The proper setting of the table, and order, neatness, and elegance, as essentials of a well-appointed meal, date from this reign. It is from this period that the history of the petit soupers de Choisy begins. We need hardly go in to that history of all that was reckless, witty, gay, and dissolute in the art of entertaining; but as one item, a floor was constructed so that the table and sideboard sank into the lower story after each course, to be immediately replaced by others which rose covered with a fresh course. From this we may imagine its luxury and detail.
Louis XV. was a proficient in the art of cookery; he also worked tapestry with his own hand. We should linger over his feasts with more pleasure had they not led on to the French Revolution, as a horrible dessert. His carving-knives later on became the guillotine.