November, 2021 - Of Art and Wine

The Art of the Dining Table and Holiday Wines

Create the mood for fine dining by showing a beautiful table setting.

We all love sitting down to a good meal, immediately made better by a beautiful table setting. In fact, decorating a table, whether for dining or or other purposes, has taken on a special name: tablescape. Even with such changed terminology, one thing about human behavior, whether ancient or modern, is that it remains recognizably the same. People have always seen what the basics were and then improved upon them. Such has been the history of the accoutrements of dining, whether table, plates, utensils, or linens. From ancient times to the present, one can see how all this evolved.

When looking at what many of the ancients did, we see that basics still applied. Ancient Egyptians created chairs, tables, stools, beds and even poles and frames from which hung fine linen to surround their beds and keep the mosquitoes out. Pharaoh Khufu’s mother, Queen Hetepheres, left lovely bedroom furniture showing us what that might have looked like. We know a lot about the food that they ate, and what they drank (wine for the rich and beer for everybody), but not much about how it was served and consumed. It is known that the poor circled together, sitting on the floor where a huge bowl full of food was set in the middle. The gathered proceeded to eat with their fingers. Those with more money would have found it easier to be seated, but in what arrangement, it is not clear. However, it is known that the wealthy had finger bowls to rinse their fingers in, and water that had been boiled, for they had learned that Nile water made people very sick. I have not found any clear depiction of an Ancient Egyptian dining set up, but those who create Ancient Egyptian Revival furniture have carried forth the idea of what that ancient elegance might look like with a slight update.

This is an Ancient Egyptian Revival dining table. See charlieroe.com

The Romans also ate with their hands, though they had plates and serving dishes, as well as bowls for soup. They also had servants to wipe their greasy fingers as they reclined in comfort. Unfortunately, they had a penchant for using lead vessels to drink from, which may have also been one of the causes for the decline and fall of the Roman Empire, as lead poisoning has rather serious consequences. The Romans had knives and spoons, but were not so keen on forks.

This silverware comes from Roman France, and yes, you see a bronze fork there. However, the Romans used forks more for cooking or spearing a piece of meat from a platter, rather than using it the way we do in modern times.

Of course, this completely disrupts the myth that forks only came to the Occident in the 10th century from Byzantium. Personally, I always liked the anachronistic presentation given in the film Beckett, where the heavily bearded, leather and fur-wearing barons of the court of King Henry II of England, were introduced to this frilly French thing, known as a fourchette (fork), which they promptly commenced to stab each other with. But no, that is Hollywood. History shows that merchants traveling from east to west in the 13th century circulated the use of forks. In those days, if you were worth anything, you had your very own eating utensils with you.

The Italians took that to a new height by introducing the cadena, a box for carrying one’s dining utensils. Catherine de Medici brought that custom to France in the 16th century. Given that human behavior has changed little, one can imagine the competition to have the finest looking set in the most wonderfully decorated box. This was especially true if you “sat above the salt,” a reference to the beautiful silver salt cellars that decorated the tables and marked off where the important people sat as opposed to those of lesser standing. The art of decorating the table was in full swing.

Chinese blue porcelain from 1000 – 1400 A.D. metmuseum.org

While the Occident moved relentlessly toward finer and finer dining experiences, the Chinese had already gotten around messy fingers and lead poisoning early on by inventing chopsticks (1200 B.C.), and porcelain dishes (Tang Dynasty, 618-907 A.D.). They had also mastered the knife and spoon early on, and had two-pronged forks for cooking as early as 2400 B.C.! That blue Chinese porcelain that so surprised the people of Europe was developed in the 13th century. A few centuries later in the 17th century when the Dutch were growing rich from trading in the Far East, they decided to make their own porcelain, known as Delft Blue. At the same time (around 1645), France’s sun king, Louis XIV, decided that France needed its own porcelain and created the Sévres factory to create fine porcelain objects, which are known for their beauty and craftsmanship right to the present day.

Delft Porcelain with a Dutch landscape and a Sévres vase from the time of Louis XV.

Of course, having wonderful things upon which to serve up rich meals led the Dutch to invent a genre of painting called the Banketje or Banquet painting in which they showed off their wealth in beautiful serving dishes and stemware on tables overladen with an abundance of fine things to eat. However, being good Protestants, they did not want to tempt fate, so they often showed the fruits and foods as half eaten, and the glasses of wine overturned. Often objects rested on the very edge of the table, as if about to fall into the darkness below. All of this was their way of showing that they knew well that all good things must end and that one must not become too proud. I still think they really enjoyed showing off, and the painters like Pieter Claesz must have loved showing their skills at painting such complicated scenes.

Pieter Claesz’ *Still Life with a Turkey*, 1627. Rijksmuseum artandculture.google.com

So finally as we arrive in the 1700s, the “need for the communal napkin” faded away and according to “The History of the Table Setting” mickeyslinen.com, the cloth napkin became popular and with it table manners. No more of this stabbing your neighbor with a fork business, oh no. It was time to sit up straight and chew with your mouth closed. Fancy, sparkling objects began to appear on the dining table as people, once again, wanted to show off their wealth, even hiring decorators to help them prepare elaborate tables for their guests. Flowers began to appear in the 1800s, along with other splashes of color in the form of table runners. By the 1900s, there were (and still are) tablescape competitions.

An entry in the tablescape competition at the L.A. County Fair. Photo by Richard Wong/Alamy

So here we are, centuries later, with the proceeds of centuries of work by ancestors from various continents. We are able to slap down a picnic meal on paper plates or a formal Thanksgiving feast for family and friends with the best “china,” flatware and cutlery in silver or gold, and crystal stemware for our wine. All is perfectly placed on a stunning linen tablecloth with matching napkins held in their decorated holders on a table punctuated by charmingly matched serving dishes, and of course, the flowers.

However, we can also have fun when we want to and express our artful fantasies in this rather unique genre of tablescape. I wonder what a Dutch master like Pieter Claesz would have thought of this creation?

The growing subculture of tablescaping in an exhibition/competition at the LA County Fair. A tablescape entry by Bonnie Overman. (Photo by Lawrence K. Ho/Los Angeles Times via Getty Images)

Information for this post used the following sources:

“Ancient Egypt for Kids: Table Manners. egypt.mrdonn.org

“The Fiercely Precise World of Competitive Tablescaping” by Andy Wright, atlasobscura.com

“The History of Table Setting: A Timeline” mickeyslinen.com

“The History of Table Settings and Dining Etiquette,” The Richmond Times-Dispatch richmond.com

Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.com or her author page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com.

Holiday Wines (made somewhat easy).

A Holiday Table from foodnetwork.com Photo credit Liliboas/Getty Images

The holidays are full of things to consider, lists of activities to accomplish, meals to plan, purchases to make, and on and on. Having a few tips on what wines to serve with which foods can help to take some of the pressure off.

Let’s start with the initial welcome. Here one can go in a variety of ways. A light still white wine, like an off-dry Riesling, is one that will go with any number of appetizers, for instance, a soft cheese like Brie or Camenbert baked in a pastry shell filled with that seasonal favorite, cranberries. The crisp but mild fruitiness in the taste of an off-dry Riesling blends well with the sweet/tart taste of the cranberry, as the off-dry has a bit less acid than dry Riesling but also is less sweet than many sweet versions of the wine.

If you simply have guests stopping by or arriving after having traveled distances to reach your home, you might want to go “old world” and greet them with a glass of Vin Santo and some biscotti (sweet Italian almond cookies). The Vin Santo is a traditional Italian “greeting” drink that will warm spirits and help guests settle in for a good conversation.

Holiday time is a time for toasting to good health, good fortune, and good friends, so naturally a nice champagne is called for. There are many choices here, but do remember that America also makes good champagne and yes, we call it by that name. Now depending upon how festive you wish to be, you might decide to serve a sparkling Shiraz, which has a deep red color that goes well with the Christmas season, stick with the pale golden version, or be coy with a sparkling rosé.

The key things to remember when serving sparkling wine is to serve it chilled at 45-50 degrees Fahrenheit, which can be done by placing it in the refrigerator for 2.5 hours or in the freezer for 25 minutes. You have a choice of glasses, but the main goal is to keep the bubbles alive, as they give the wine that sparkle it is known for. A tulip which closes in at the top is best, but a champagne flute works well, too. And don’t forget American champagnes, like those pictured here made by Gruet in New Mexico. gruetwinery.com

ON TO THE MAIN COURSE

Roast Turkey, a holiday favorite. For this recipe click the link to delish.com

Of course, there is nothing to say that you will actually have turkey for any of your holiday meals, but if you decide to go that way, you might want to serve a Pinot Noir. Not only will it go well with the bird, but its main quality is one of being balanced and drinkable. This means that it will go well with the side dishes also, so you need not fear serving mashed potatoes, roasted vegetables, and cranberry sauce. However, a good Chardonnay can also do the trick, but get an unoaked Chardonnay, as its medium-to-high acidity works well with those side dishes. Should your bird be a duck or a goose, then stick with the Pinot Noir. For those who love roasted meats, a Cabernet Sauvignon or an oaked Chardonnay stand up well to those heavier flavors.

Photo from cameronsseafood.com and the site comes with some fine recipes.

If you really go non-traditional and have seafood, then having it with some champagne would be my first choice. However, Chardonnay, Chenin Blanc and Pinot Gris all work well. This last one is particularly good with any of the fried seafood like calamari. However, when serving dishes like bouillabaisse, paella, jambalaya, or gumbo, you can count on a good Pinot Noir.

TIME FOR DESSERT

Poached Pear and Riesling coravin.com

When it comes to desserts and wines, the difficulty can be the mixing of sweets with sweets, which cancels out the taste of both. However, there are options, like the intriguing combinations offered by Coravin, which include meringue cookies and rosé, and peppermint cookies and Cabernet Sauvignon (click link above). One also has the possibility of serving a fortified Port or Sherry, which can provide a sweet ending to a lovely meal. (Photo from thespruceeats.com).

Well, the holidays are upon us, but hopefully with a few good suggestions, we will all navigate them well and have lovely, memorable experiences of beautifully dressed tables and excellent foods and wines. Happy Holidays!

The articles used for this post on wines for the holidays are all linked above.

Of Art and Wine affiliates with Bluehost.com and CellarsWineClub.com and may earn from qualifying purchases.

©marjorie vernelle 2021

Coming Soon: Peace and the Apocalypse in Botticelli’s Mystic Nativity and Wine Cocktails.

The Mystic Nativity by Sandro Botticelli, c. 1500

Sandro Botticelli had an interesting career as a painter in the High Renaissance of 15th century Florence. He was favored by Lorenzo de Medici and created many works that were based upon the Ancient Greek myths and legends which had come back into European culture with the Renaissance. However, as time went on he came under the influence of the radical monk Savonarola and began to doubt the previous subject matter of his work. In The Mystic Nativity, we see his approach to the birth of Christ has remnants of his earlier painting style seemingly pressed into the service of a new ideal.

La Bella Maniera, 16th Century Futuristic, And Wines of Romagna.

Art history is a funny discipline, full of its own little quirks of personality. One of those is the habit of labeling previous types of painting in ways that often put them into less than glorious light. My favorite example is how the absolutely beautiful and often quite sophisticated art of the Middle Ages became known as Gothic, a name that implied the barbarism of invading hoards of murderous tribal people from the steppes of central Asia. Another habit known to art history is the artificially well-defined lines between one age and another, with dates given on either side: High Renaissance, 1420-1520. Of course, 1520 marked the death of Raphael, who according to Vasari was the pinnacle of achievement. What came immediately after that was a downhill slide called in later years Mannerism, a hard term to understand as it implied a formulaic painting style too governed by rules that limited its expression. Though this period was also part of the Renaissance, it is rather cast aside as some strange intermediary period before one came to “good art” again in the Baroque. Au contrare mes chères amies. Yes, I said it! Here’s why.

Detail from Fall of the Titans 1526-1535 by Giulio Romano in the Palazzo Te, Mantua, Italy. Photo credit: akg-images/Eric Lessing. For more see artsandculture.google.com

The dates of this work, a part of the totality called Fall of the Titans, was completed somewhere between 1526 and 1535, almost 500 years ago. Yet, the way the figure is handled with a certain looseness in the definition of the stones, a rather symbolic treatment of the hair, and the comical expressiveness of the face are a long way from Leonardo or Raphael, both of whom died just a few years before this was created. The caricature-like treatment of the face of this titan is more akin to what one might see in a modern graphic novel or an animated film. There is none of the realistic detail of a face of a soldier in battle done by Leonardo da Vinci. The images have been simplified. The expression is almost comedic, or at the very least entertaining. The totality of it is quite different from what was the norm just a short while before.

*Head of a Soldier* in the *Battle of Anghieri*, Leonardo da Vinci, 1504-05 artsandculture.google.com

The da Vinci above shows a very realistic representation of a soldier in battle. The drama is there; the seriousness of the moment of conflict is clear. The figure has a realism to it that the titan in Romano’s work does not have.

Nor does Romano’s titan have the realistic detail of a figure done by Raphael, like this sketch, Head of an Apostle, though Romano was second to Raphael in Raphael’s studio. Romano was the artist who finished Raphael’s work when Raphael suddenly died. Obviously Romano could paint in the style of the master of the studio, or he would never have been able to work there. So what explains this difference in style? Had the times changed drastically? Did his patron influence him? Or did the artist feel free to charge into something new?

Details from *Fall of the Titans* and *Empire of the Giants* by Giulio Romano c. 1531 artsandculture.google.com

In answer to the questions posed above, I would say that it is at least all three. The 16th century was a time of great instability. The various kings, princes, and dukes all lived on the knife’s edge, sometimes literally. In 1527, the troops of the Holy Roman Emperor, Charles V of Spain, mutinied over unpaid wages and sacked the city of Rome! Some 45,000 people were severly effected, with those who were not dead or wounded, having to flee into exile. Romano who finished Raphael’s work, left Rome in 1524 (some indicate 1527) after having gotten into trouble for some illustrations that the Church considered pornographic. He had been persuaded to go to Mantua, the home of Federico II Gonzaga, of the family that ruled Mantua at the time, to create the interiors of Gonzaga’s pleasure palace, the Palazzo Te or Tea Palace. With troubles in Rome, and work elsewhere, it was indeed a good time to leave.

In this confluence of events, one can see a number of elements at play. The artist was seeking a different kind of expression (those images the Church disapproved of?); the times were indeed unstable and dangerous (Rome was sacked not long after he left); and his new patron, Gonzaga, was after something different to add to the entertainments held at the Palazzo Te, which in those times was discreetly outside of Mantua. So the art changed to meet the new situation and took a leap forward to something that looks oddly modern to us.

The Palazzo dei Te or Palazzo Te in Mantua, Italy. inexhibit.com

You may have noticed that the colors of the clothes of one of the Giants is rather pastel as are the rocks that surround him. The use of pastel colors became prevalent in the Bella Maniera period. The misconception that has come with the name Mannerist for that period of time (applied by art historians from a later date) has led thinking away from the idea of any originality. With that have come some surprises, like the colors that appeared under the grime of the Sistine Chapel (1554). The dull colors that made the images hard to see, once cleaned, showed the use of many soft pastel colors, which in fact was a hallmark of La Bella Maniera. To get a good sense of what they looked like before and with a click of the mouse to see what they looked like once cleaned and well-lighted, look at “Restoration of the Sistine Chapel: Before and After” by David Calhoun davidbcalhoun.com

Jacopo Pontormo (1494-1557) was one of the outstanding painters of the time and the teacher of Agostino Bronzino who became court painter to Duke Cosimo de Medici I of Tuscany. Here in The Deposition (1526-1528), Pontormo is fully in the spirit of that change in the art. Notice the elongated bodies and the use of bright pastel colors. Bronzino would also distort the bodies of the figures but only to make them curve in an elegant way. See Bronzino’s Allegory of Love on OfArtandWine.com, 02/10/20

This playing with the forms and the colors and taking them far away from what the High Renaissance had formulated could be seen as a part of Baldassare Castiglione’s idea of sprezzatura, representing ease and elegance in everything. Portormo’s figures almost seem more decorative rather than highly religious. That penchant for the unrealistically elongated, gracefully flowing figures can be seen in the stucco work inside of Fontainebleau Palace in France. It was with Francis I of France that the Renaissance entered France. Yes, Leonardo da Vinci spent his last years there, but La Bella Maniera followed.

Figures above the entrance to the Chapel of the Trinity and figures by Francesco Primaticcio

In the figures above (all from Fontainebleau), one can see the elongated arms and legs and relatively small heads of the figures. This move into the format of the Bella Maniera came because of the influence of King Francis I, who after his return from being defeated at the Battle of Pavia (1526) and spending a year in captivity in Spain, decided that everything must change, and change it did. Artists like Primaticcio were brought in from Italy, bringing their 16th century Renaissance sense of elegance and beauty (bella maniera literally), and stories that were more focused on classical myths and legends than they were on the biblical. amisdechateaufontainebleau.org.

The changes to art fostered in the 16th century affected architecture as well. There in Mantua on a municipal court building are two female cariatides that drape themselves down the building façade very much like Belle Epoch figures. Yet, they were done by Romano during his long stay in Mantua. Most outstanding would be the Park of Monsters, also known as The Monsters of Bomarzo. Prince Pier Francesco Orsini (old Roman aristocracy) suffered from war, captivity, and the death of his beloved wife, which one might say soured him on life. Wanting to express the darker side of human existence, the prince hired a celebrated architect who had worked on Saint Peter’s Cathedral to come to create the prince’s vision of horror. Not unlike Romano who had gone off to Mantua to create these enormous, fantastical figures for Federico II Gonzaga, so Pirro Ligorio went to fulfill his patron’s wishes. You see the results below

Some of the Monsters of Bomarzo atlasobscura.com

While this work is done with the intention of being horrific, these are still from the 1500s, which is one of the reasons I posit that Bella Maniera was quite futuristic. Certainly it is art that moved well beyond the normal look of the day, which may have been the reason it was so dismissed by later art historians. The Catholic Church did not like this veering into myth, legend, and the imagination, so launched as part of its Counter-Reformation initiatives, an art that was more “understandable” and which dealt with religion once again. Thus was born the Baroque Period and the famous Carracci family from Bologna were among the first to produce that art that left behind these harder to understand concepts and brought the art down to an earthly realism once again. (See the article on Annibale Carracci from Octobet 25, 2021). What I see, as an artist and art lover, is that when artists are free to express, they can go far ahead of where the regular population is. For those who are interested in these possibilities, I suggest reading Dr. Leonard Shlain’s book Art and Physics, which may give one a different perspective on Abstract Expressionism.

Works used for this article are in the links above. My personal art history notes from my study of La Bella Maniera in 16th century art under the guidance of Mme. Chantal Duqueroux in Avignon, and from our class visit to Mantua are also used.

All art works are in public domain. Photo credits are given in the links to the websites of origin.

The Wines of Romagna

Vineyards in Emilia-Romagna lacuchinaitaliana.com

The region of Emilia-Romagna in Italy is in and around the city of Bologna, home of one of Europe’s oldest universities and as mentioned above, home of the celebrated Carracci family of painters from the Baroque era. It is said to be a land that produces wines and foods that are hearty and down-to-earth like the rugged, plain-spoken inhabitants of that area. Here are few to consider.

LAMBRUSCO

Lambrusco is one of the favorite wines of the Romagna area. Lambrusco grapes were used for winemaking long before bubbly was discovered. Their cultivation goes back to the time of the Etruscans and the Romans. The grapes come in a wide variety: salamina, maestri, marani, montericco, and sobara. Most are grown right there in Emilia-Romagna but in some cases vintners will get some of them from Mantua, which is actually in Lombardy. The making of the frizzante, the sparkling wine, is done with the same method used for producing prosecco, which involves a second fermentation in a pressurized tank. The flavors are of berries and citrus, and the colors range from red to rose pink. For those who like red wine all year long, Lambrusco is a good way to have some red sparkle in the summer time.

MALVASIA

While the malvasia grape grows all over the Mediterranean, it came to Emilia-Romagna as the result of the Venetians losing a trade route to Crete because of the Turks. The solution was to go relatively nearby to Emilia-Romagna and grow the grapes there. Malvasia grapes produce a white wine that also comes in a frizzante. Its light taste is perfect for a summer’s day at the beach or for lightly fried snacks. I can imagine it as a nice companion for a plate of fried calamari. It comes in both dry and sweet varieties and the most celebrated kind is Malvasia de Candia, which is a reference to its original home in Crete.

PIGNOLETTO

Cultivated in the hills near Bologna, at an altitude of 150-600 meters (600-1900 feet), the Grechetto Gentile grape is the source of Pignoletto, a favorite in the restaurants of Bologna, as it comes in sparkling, dry, and sweet varieties. The name refers to pine cones, as the grapes cluster in small tight units in the general shape of a pine cone. Most of the production centers around the Apennine town of Pignoletto, hence the name. The tank method is used to make the sparkling version of this wine, which is positioning itself to rival Prosecco, though that competition has been compared to David in combat with Goliath. But David won that battle, didn’t he? Guess we will have to wait and see.

TREBBIANO

Last but certainly not least is Trebbiano. The grape itself is often blended with other varieties, but it can stand alone as a light, refreshing wine to serve with fish or with snacks. It is often associated with Ravenna, but it is the most well-known wine of Emilia-Romagna. It has a straw yellow color, which is like a reminder of summertime, and it comes in sparkling versions as well as still ones. There are versions of it from other areas like Trebbiano di Lugana (from the Veneto), Trebbiano d’Abruzzo from central Italy and its famed Montelpulciano d’Abruzzo. However, there is also Trebbiano di Soave from Lombardy and the Veneto.

Needless to say, Emilia-Romagna is a rich area not only in wines but also in art and art influences. So the next time you have a chance to try one of these wines, think of Bologna, the Carracci family of painters, and of that odd and beautiful period that came just before them – La Bella Maniera.

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Coming Soon: Thanksgiving!

As the next post would be the 25th, Thanksgiving, I wish you all a Happy Holiday now. In the meantime, I shall be researching the Art of the Table to provide a little history on how it is that we have arrived at the making of glorious artful table decor, and of course, there will be suggestions for good wines for the rest of holidays.