A guide to modern cookery

the more the latter is liked and appreciated, the more will people clamour for his recipes. Many hours of hard work perhaps underlie his latest creation, if it have reached the desired degree of perfection. He may have forfeited his recreation and even his night’s rest, and have laboured without a break over his combination; and, as a reward, he finds himself compelled, morally at least, to convey the result of his study to the first person who asks, and who, very often, subsequently claims the invention of the recipe—to the detriment of the real author’s chances and reputation. This frantic love of novelty is also responsible for many of the difficulties attending the arrangement of menus; for very few people know what an arduous task the composing of a perfect menu represents. The majority—even of those who are accustomed to receptions and the giving of dinners—suppose that a certain routine alone is necessary, together with some culinary practice, in order to write a menu; and few imagine that a good deal more is needed than the mere inscription of Courses upon a slip of pasteboard. In reality the planning of these alimentary programmes is among the most difficult problems of our art, and it is in this very matter that perfection is so rarely reached. In the course of more than forty years’ experience as a chef, I have been responsible for thousands of menus, some of which have since become classical and have ranked among the finest served in modern times; and I can safely say, that in spite of the familiarity such a period of time ought to give one with the work, the setting-up of a presentable menu is rarely accomplished without lengthy labour and much thought, and for all that the result is not always to my satisfaction. From this it may be seen how slender are the claims of those who, without any knowledge of our art, and quite unaware of the various properties belonging to the substances we use, pretend to arrange a proper menu. However difficult the elaboration of a menu may