Where, indeed, more than at the well-appointed dinner-table may one echo the sentiment of Seneca, "When shall we live if not now?" "An empty stomach produces an empty brain," observes the author of the "Comédie Humaine"; "our mind, independent as it may appear to be, respects the laws of digestion, and we may say with as much justice as did La Rochefoucauld of the heart, that good thoughts proceed from the stomach." It is, however, a source whence our joys and sorrows both may spring. Neglect and indifference may impair its action to destruction; but, humoured kindly, it ever guides us in paths of peace. In a healthy and a hungry state, it yearns for special gifts which gustatory edicts demand, and rarely will confusion attend them when their bestowal is flavoured with prudence. It is a faithful minister and discriminating guardian, which rebels only when its functions are imposed upon; but when they are, its resentment is thorough and relentless. Worthy then, most certainly, of solicitous regard is the nourishment of an organ which may shape our ends for weal or woe. "Cookery," said Yuan Mei, the Savarin of China and author of a scholarly cook-book during the eighteenth century, "is like matrimony--two things served together should match. Clear should go with clear, hard with hard, and soft with soft.... Into no department of life should indifference be allowed to creep--into none less than into the domain of cookery." Concerning the art itself, it may be remarked that the French have been to cookery what the Dutch and Flemish schools have been to painting--cookery with the one and painting with the other having attained their highest excellence. Rubens, Rembrandt, Teniers, Jordaens, Ruysdael, Snyders, Berghem, and Cuyp may be paralleled in another branch of art by Carême, Vatel, Beauvilliers, Robert, Laguipière, Véry, Francatelli, and Ude. But, as in painting during its earlier stages Flanders and the Netherlands owed much to the Roman and Venetian schools, so in cookery the French are vastly indebted to their predecessors and former masters the Italians, who, if less distinguished colourists, were not to be despised as draughtsmen, and who if by instinct not as skilled in the chiaroscuro of sauces, were most dexterous in creating breadstuffs and pastry. Montaigne's reference to an Italian cook of the period will be remembered in this connection--one of the artists who had been employed by Cardinal Caraffa who discoursed upon the subject in such rich, magnificent words, well-couched phrases, oratoric figures, and pathetical metaphors as learned men use and employ in speaking of the government of an empire.