Kitchen Scene
Vincenzo Campi
Possibly 1580-90, Cremona, Lombardy
Oil on canvas
Accademia di Belle Arti di Brera, Mila
Renaissance House
Gabinetto dei Disegni e Stampe degli Uffizi, Florence
The kitchen (cucina)
belonged to the network of service spaces – from pantries to wine
cellars – that kept the house supplied with food and drink.
Kitchens were rarely located on the same floor as thesala,
because of the smells, noise and constant circulation of people.
Instead, they were usually in the attics, to minimise the risk of
chimney fires, or on the ground floor. Many servants rarely left the
kitchens, and the woman of the house paid frequent visits to supervise
their work.
Even in large kitchens, the equipment was quite basic. The most
important item was the mortar (ancestor of the modern blender), used for
grinding and mixing all sorts of ingredients. But there were also pastry
cutters to make pies, terracotta pots for slow braising and spits for
roasting meat. Few of these survive, and most come from archaeological
excavations.
"You should not behave as I have seen some women do, who make such a din,
and banging and moving about of tables and chairs, and so much noise of
plates and knives, that the guest expects a sumptuous meal, and at the
end realises that the mountain has brought forth a mouse."
From a conduct book for new brides (Pietro Belmonte,Istitutione
della sposa, 1587)
Moving House(Detail)
Vincenzo Campi, 1580-90 Cremona. Oil on canvas
Renaissance House
In the years between 1400 and 1600 Italians became the most extravagant
builders in Europe. Wealthy citizens commissioned magnificent palaces,
and displayed their gentility and education
through splendid
possessions. Many of these objects were novelties. Some, such as glass
mirrors and printed books, are familiar to us today. Others, like birth
trays, relate to beliefs and practices that have vanished. The modern
distinction between ‘fine’ and ‘decorative’ art was not yet firmly
established. Prestigious artists would produce domestic objects as well
as paintings and sculpture. Social, cultural and moral messages could be
found in a portrait or an inkstand.
The Renaissance was a period of profound change. Its revival of
classical antiquity took place in a world of economic growth, scientific
and geographical discovery, political and religious conflict. While
reflecting these upheavals, domestic life also played an active role in
the creation of art and culture.
Casa
House and household
were both calledcasa.
The ‘family’ that comprised thecasaincluded
not just the nuclear unit of parents and children, but also many blood
relatives and servants.
Thecasawas
a hub of activity – domestic, economic and social – and during the
Renaissance it accommodated increasingly specialised spaces and objects.
Visitors would generally be shown the first floor orpiano
nobile. This included a suite of rooms leading from thesala(reception
room), to thecamera(bedroom),
and then thescrittoio(study).
The basic distinction between sala and camera was visible at almost all
social levels right across Italy.
In grand houses there were also rooms for specific activities such as
music, dining and small parties, as well as areas that most visitors
would not see: the kitchen, cellars, attics and servants’ quarters.
"Guide your guests around the house and in particular show them some
of your possessions, either new or beautiful, but in such a way that
it will be received as a sign of your politeness and domesticity,
and not arrogance: something that you will do as if showing them
your heart."
From a conduct book for new brides (Pietro Belmonte,Istitutione
della sposa, 1587)
People, Spaces and Objects
Wealthy families remained in the same place for generations, and their
houses were an expression of dynasty and permanence. Poorer people moved
frequently, though usually within the same neighbourhood. Lacking a
permanent house, they maintained the idea of casa through family and possessions.
By
the end of the 16th century, however, families from a wider social
spectrum could afford an unprecedented range and quantity of domestic
goods – linens, printed images and painted wooden chests, as well as
glass, earthenware and kitchen utensils.
Cookery Books
While cookery books
had been available for centuries in manuscript form,
printed books of recipes, often containing woodcut illustrations, were a
new development in this period. They made advice on cookery available to
a wider audience than ever before. During the Renaissance it was common
for meals to have four courses, which could consist of one entree, two
meat courses and one course of fruit or cheese. Meat was expensive and
eaten regularly only by the wealthy. Short pasta,
which would be boiled,
became increasingly popular during the sixteenth century and soon
dominated the Italian diet. Here we have translated recipes from two
popular Renaissance cookery books, the humanist’s Bartolomeo Platina’s
‘On right pleasure and good health’ (1475) and the food advisor of the Ferrarese court Cristoforo Messisbugo’s ‘Banquets’ (1549).
Recipes
Barolomeo Platina’s ‘On right pleasure and good health’.