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cookery. But, when all is said and done, Mr. Stephen Graham probably hits the right nail on the head when he says :—

The first thing about it is love, as I wrote in a verse during my tramp with Vachel Lindsay," Coffee should be made with love; that's the first ingredient," and "the chief cause of coffee being just indifferent is your indifference to coffee." I feel this is also true of the most of cooking. You must bring a loving heart to the primus or camp-fire. No soured personality can be trusted to stir the beans, far less make the coffee. I have not examined the psychology of good cooks, but I imagine few of them are bitter, few of them are egoists. Watch a thorough-going egoist over the camp-fire cooking for you. But I ask too much-take the pan from him, take the pot away.

For the rest, here is a list of a few special English and Scottish productions-distinctively national :—

ENGLISH DISHES.

Syllabub; junket; scalded or clouted cream; cheesecakes; Yorkshire pudding; lemon cream; raised pork pies; Cornish pasties; Devonshire squab pie; York ham; Oxford sausages; Cambridge sausages; Stilton cheese; single and double Gloucester; sage cheese ; Cheshire cheese; Cheddar; Wiltshire; York cream cheese; Bath cream cheese; spiced beef; pease soup; pease pudding and boiled pork; calf's head with parsley and butter; pettitoes; tripe and onion sauce; cow-heel fried; boiled leg of mutton and caper sauce; Irish stew; roast saddle of mutton and red currant jelly; stuffed shoulder of veal with bacon; lamb and mint sauce; a sucking pig and currant sauce; devilled bones; mixed grill; turkey and pork sausages; roast goose, or roast pork with apple sauce; duck and green peas; jugged hare; boiled rabbit and pickled pork; grilled rumpsteak; mutton chop; pork chop; kidney and bacon; baked potatoes browned in the pan; stewed cucumber; cucumber sauce; salads (see Evelyn's Acetaria); fried sole; boiled turbot and fried smelts with lobster sauce; boiled soles; cod cutlet fried with a rasher of bacon; cod's sounds; cod and oyster sauce; salmon and fennel sauce; boiled mackerel with gooseberry sauce; Yarmouth bloaters; grilled sprats; potted shrimps; breast of lamb grilled with stewed cucumbers; oxtail soup; oxheel soup; mock turtle; boiled turkey and celery sauce; roast veal and Seville orange; Seville orange sauce for wild duck; sharp or sweet sauce for venison; raspberry vinegar; pickled walnuts; mushroom ketchup; beefsteak pudding; eggs and bacon and spinach; toasted cheese; marrow bones; poached eggs on toast; plum pudding; mincepies; suet pudding; baked rice pudding; devilled biscuit; venison pasty; spotted Dick or plum duff; rolypoly treacle pudding; veal and ham pie; apple pie; bilberry pie; trifle; roast game; Simnel cake; Queen cakes; Banbury cakes; Shrewsbury cakes; Bath buns; hot cross buns; Sally Lunn; muffins;

crumpets; college puddings; apple dumplings; cottage pie; damson cheese; quince marmalade and other preserves; flead cakes; hollow butter pudding.

SCOTTISH NATIONAL DISHES.

Haggis; lamb's haggis; calf's haggis; fat brose; kailbrose; cocka-leekie; inky-pinky; hotch-potch; winter hotch-potch; leekporridge; plum porridge; skink (an old-fashioned soup); friar's chicken; crappit heads; barley broth; boiled gigot; sheep's head broth; sheep's head pie; pan-kail and kail; old Scotch brown soup; Scotch hare soup; knuckle of veal soup; minced collops; roast red and roe-deer; collops in the pan; lamb's stove; lamb's head dressed; lamb's liver; beef heart; howtowdie and drappit eggs; friar's venison; Glasgow tripe; shortbread; petticoat tails; Scotch bun; cod's head and shoulders; hatted kit; Corstorphine cream; fresh herring, split, dipped in oatmeal and fried or grilled; finnan haddies ; oatmeal cakes; flour scones and slim cakes; gingerbread; porridge; marmalade; Scotch sowens; Scotch custard; pancakes; stoved 'taties; Aberdeenshire skate soup, etc.

All of which, and many more, are delicious when perfectly cooked, as they can be by persons who give their brains to the business.

MARY EVELYN

NAPOLEON'S WARS AT FRANCONI'S

I. Scenes and Silhouettes. By D. L. MURRAY. Cape. 1926.
2. Anciens Théâtres de Paris. By GEORGES CAIN. Paris.
3. Italian Travel Sketches, etc. By HEINRICH HEINE.
ELIZABETH A. SHARP. Walter Scott.

4. Le Monde Dramatique.

5. Memoirs of J. Decastro

1906.

Translated by

Edited by FRÉDÉRIC SOULIE. Paris. 1835-6.
Accompanied by an Analysis of the

Life of the late Philip Astley, Esq. London. 1824.

6. Mémoires Secrets. Attributed to LOUIS PETIT DE BACHAUMONT. Paris. 1777-1789.

OMING revolutions cast their shadows in-the pun cannot

be avoided the French circus. What was a harmless craze or childish amusement in London, became a political influence when installed in Paris. The circus crossed the Channel as a sinister omen of the impending downfall of Louis XVI. A generation later it grew into the equestrian drama, which by glorifying the career of Napoleon, undermined the thrones of Charles X and Louis Philippe. Under Napoleon III it did much to create the garish glamour of the Second Empire-so much so that a joke of the day was to deny Louis Napoleon's betrothal to Mademoiselle Cirque Olympique, daughter of the Maréchal Franconi," who won his spurs in the most distinguished military circle of the Empire."

Historians have overlooked this significance of the showman. Carlyle makes no mention of Marie Antoinette's delight in the English trick-riders who visited Paris in 1782, though he does declare that the passion for English horsemanship was "prophetic of much." Jockeys, saddles, top-boots and redingotes were proofs of the French nobles' love of neighbouring freedom: "Nay, the very mode of riding; for now no man on a level with his age but will trot à l'Anglaise, rising in the stirrups ; scornful of the old sit-fast method." Before the year was out a message was sent by Marie Antoinette to the Astleys at their amphitheatre, on the south side of Westminster Bridge, inviting them to return to Paris. Thus Anglomania, while fertilising the revolution, was planting in Paris the equestrian spectacles destined to play a part in French politics for many years. In 1783, when the Astleys set out, Horace Walpole commented on the news in a

manner curiously significant now that we know the king-making powers of the French circus-horse :

London at this time of the year is as nauseous a drug as any in an apothecary's shop. I could find nothing at all to do, and so went to Astley's, which, indeed, was much beyond my expectation. I do not wonder any longer that Darius was chosen King by the instructions he gave to his horse; nor that Caligula made his Consul. Astley can make his dance minuets and hornpipes. But I shall not have even Astley now. Her Majesty the Queen of France, who has as much taste as Caligula, has sent for the whole of the dramatis personæ to Paris.

In the "Mémoires Secrets," attributed to de Bachaumont, there is a note dated November 3, 1783, mentioning that le sieur Astley had returned to Paris and resumed his exercises in the saddle. Near the spot where he had performed before in the Faubourg du Temple, he had built a spacious and well-roofed riding school. Here some of his horses danced the minuet, one fetched and carried, another sat up like a dog; there was a fight between an English tailor and his mount which, though docile with any other rider, shied and reared on catching sight of the tailor, rushed at him, tore his coat, seized his whip and carried it off between its teeth. Philip Astley's horsemanship was greatly admired, but his son aroused the envy of men and the love of women. Decastro, in his "Analysis" of the elder Astley's life, says that when John Astley danced on horseback at Versailles, Marie Antoinette and Louis XVI were

so highly delighted with his manly agility, symmetry of figure, elegance of attitude, and gentlemanly deportment, that they were graciously pleased condescendingly to present him with a gold medal set with diamonds, and, at the same time, in the most dignified and handsome manner, designated him the " English Rose," in allusion to that most accomplished of dancers, the original " Vestris," who was then styled French Rose."

the "

Young Astley's success, indeed, was so great at the French Court that Walpole said he " expected to be Prime Minister, though he only ventured his neck by dancing a minuet on three horses at full gallop." In that attitude, however, he had "as much grace as the Apollo Belvedere." The ladies of London had long formed this opinion and the ladies of Paris agreed. Theatres, opera and ballet were deserted. All Paris flocked to worship the handsome young Englishman.

There was soon, however, an end to Astley's triumphs in the quarter dominated by the grim prison of the Temple. Practically the first act of violence of the French Revolution was committed at one of his neighbours' theatres. Dr. Curtius, whose chief show of wax-works was installed at the Palais-Royal, had founded another " Musée de cire " on the Boulevard du Temple. Thither, on July 12, 1789, Camille Desmoulins marched with his green cockades, and demanded from Curtius the busts of two popular favourites: "Égalité" d'Orléans and the banished Minister Necker. "These," as Mr. D. L. Murray describes in his essay on the origin of Madame Tussaud's, “they carried off by torchlight, swathed in crape, till the Prince de Lambesc's dragoons charged down upon them, when the figure of M. Necker was sliced in two, and that of d'Orléans splashed with the blood of its bearer."

Two days later the Bastille was stormed. Astley thrilled at the news. All London thrilled, including his rivals, who prepared spectacles of the "Fall of the Bastille," and he did not mean to be outdone. As he passed by the show of Curtius, he saw that showman's niece-Marie Grosholtz, afterwards to be known as Madame Tussaud-modelling in wax the head of de Launay, Governor of the Bastille, brought to her after it had paraded the streets on a pike; also the head of Provost Flesselles, that had been seized after he had been shot dead on his way to trial. Astley secured a copy of each bust, besides a uniform of the national soldiers which he wore on the stage at Lambeth. But Astley's enthusiasm changed, as the enthusiasm of the British public changed, to despair as the Revolution progressed. No longer could he continue his entertainments in the Faubourg where the king and queen, who had befriended him, were about to find their last prison: the war between the two countries had brought his enterprise to an end.

Fortunately he had a representative in Paris. Once he had employed a French boy named Laurent as an apprentice; the youngster ran away, but his master found him among the puppetshows of the Pont Neuf and brought him back to London, where he became famous as a clown and earned enough money to be a man of means. Philip now sent an order to Laurent's mother to take possession in his name of the Amphithéâtre Anglais and the dwellings he had built about it, in order to protect the property

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