e for her worthy both of her and of your majesty. Your royal
bounty has made my negro, Zamore, governor of Luciennes, and I cannot
accept less than a _cordon bleu_" (the Royal Order of the _Saint
Esprit_) "for my _cuisiniere_."

The French Revolution was temporarily a blow to Parisian cookery, as to
everything else of the _ancien regime_. "Not a single turbot in the
market," was the lament of Grimod de la Reyniere, the great gourmet, and
author of the _Manuel des amphitryons_ (1808). But while it fell heavily
on the class of noble amphitryons it had one remarkable effect on the
art which was epoch-making. It is from that time that we notice the rise
of the Parisian restaurants. To 1770 is ascribed the first of these, the
_Champ d'oiseau_ in the rue des Poulies. In 1789 there were a hundred.
In 1804 (when the _Almanach des gourmands_, the first sustained effort
at investing gastronomy with the dignity of an art, was started) there
were between 500 and 600. And in 1814, to such an extent had the
restaurants attracted the culinary talent of Paris, that the allied
monarchs, on arriving there, had to contract with the two brothers Very
for the supply of their table. Among the great gastronomic names of
Napoleon's day was that of his chancellor Cambaceres, of whose dinners
many stories are told. Robert (the eponym of the _sauce Robert_),
Rechaud and Merillion were at this period esteemed the Raphael,
Michelangelo and Rubens of cookery; while A. Beauvilliers (author of
_Art des cuisines_) and Careme (author of the _Maitre d'hotel francais_,
and chef at different times to the Tsar Alexander I., Talleyrand, George
IV. and Baron Rothschild) were no less celebrated.[1] Perhaps the
greatest name of all in the history of the literature of cookery is that
of Anthelme Brillat-Savarin (1755-1826), the French judge and author of
the _Physiologie du gout_ (1825), the classic of gastronomy.

In England Louis Eustache Ude, Charles Elme Francatelli, and Alexis
Soyer carried on the tradition, all being not only cooks but authors of
treatises on the art. The _Original_ (1835) of Thomas Walker, the
Lambeth police magistrate, is another work which has inspired later
pens. Like the _Physiologie du gout_, it is no mere cookery-book, but a
compound of observation and philosophy. Among simple hand-books, Mrs
Glasse's, Dr Kitchener's and Mrs Rundell's were standard English works
in the 18th and early 19th centuries; and in France the _Cuisiniere de