Early in the nineteenth century Berchoux published his "Gastronomie," and Grimod de la Reynière appeared as the versatile author of the "Almanach des Gourmands." By this time cookery was fully able to take care of itself, irrespective of royalty or titled patrons, and the "Almanach" became its greatest oracle and promoter. Before referring to the "Almanach," which claims a chapter by itself, a word should be said of Berchoux's poetical treatise, the first edition of which appeared in 1801. Recalling Gentil Bernard's "l'Art d'Aimer" in its scope and spirit, this tribute to the tenth muse has been termed one of the most ingenious productions of light French poetry. Free from the grossness that characterises so many French works on the subject, it touches lightly, comprehensively, and entertainingly upon the theme. It was soon translated into numerous languages, and many of its precepts have become proverbial. The advice throughout is excellent, but, as it was observed to the author at the time, "You are all alike, messieurs the poets, you say admirable things; but it is impossible to carry them out." After passing in review the table of the ancients, and censuring their intemperance and gluttony, the author advises the reader who would live contentedly to choose his residence in Auvergne or La Bresse, under whose favourable skies he may procure everything that ministers to the pleasures of the table: "Voulez-vous réussir dans l'art que je professe? Ayez un bon château dans l'Auvergne ou La Bresse, Ou près des lieux charmants d'où Lyon voit passer Deux fleuves amoureux tout prêts à s'embrasser. Vous vous procurerez, sous ce ciel favorable, Tout ce qui peut servir aux douceurs de la table." A good cook at once becomes the great desideratum--an artist whom one may bless after having partaken of the courses he has served, an officer who will cause one's table to be envied by all who have shared its good cheer, a seneschal of grave mien and imposing presence, conscientious in his work, prolific in resources, and proud of his art,-- "... qui d'un air important, Auprès de son fourneau que la flamme illumine, Donne avec dignité des lois dans sa cuisine." The interior of the kitchen while the dinner is being prepared is next portrayed with the skill of an Ostade. The charcoal glows, the spits turn merrily, the lustrous copper of the saucepans and kettles catches the ruddy light of the flames. The gravies simmer, and the fowls take on a golden hue. All is excitement, but an excitement tempered by perfect order and harmony. In the midst, surrounded by his subalterns, to whom he issues his commands, stands the chef--impassible, majestic, serene--like a general on the eve of a decisive battle: