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Abbildung: © Bayerische Schlösserverwaltung / Schloss Johannisburg, Aschaffenburg Abbildung: © Kunsthistorisches Museum Wien

Abb. 7 Korkmodell der Cestius-Pyramide in Rom, Carl May (1747-1822) • Cork model of the Cestius Pyramid Abb. 8 Tafelaufsatz Tempelruine von Paestum, Carlo Albacini (1735-1813) • Centrepiece temple ruin

Tradition of architectural centrepieces dates back to the Middle Ages form of a palace and summer houses, doors and bridges. Since they were primarily
made of edible materials, such centrepieces are often only attested in writing. The hey-
Architectural critique, however, struggled with such gadgets. Stanislaus von Moos labo- day of ancient centrepieces should only follow in the classicist period. In the Baroque
riously toiled with presenting the “Italian Village” in the proper light in his book on era, people delighted in playful small temples made of coloured china or in small table
Venturi, Rauch & Scott Brown and explains: “One should not overlook that these objects, fountains with fragile rococo shapes, with groups of allegoric and foreign figurines in and
even though they look like buildings, are not designed like buildings but according to the around them. In 1754, Graf Brühl ordered a “Temple of Honour” for his Pförten Castle,
requirements of their own function and their traditional typology.” So pots have a handle which was opulently decorated with 264 additional elements. In view of such stimuli,
and a spout and the roof of the sugar bowl can obviously be taken off. Von Moos could guests had the opportunity to air their knowledge of mythology, Christian values and
have also pointed out that Venturi and other postmodern architects, who designed such exotic parts of the world during the conversation at the table or make clever comments
miniature architecture, pursued an old tradition of architectural centrepieces. Such on the represented architecture (image 3).
objects already existed in the Middle Ages. For example this table fountain created in
Burgundy around 1320-1340, which is about 30 centimetres high and now stored at the Architectural centrepieces serve the transfer of knowledge
Cleveland Art Museum (image 2). The architectural details were precisely observed.
Octagonal columns with elaborated bases and capitals with leaves typical of the time Towards the end of the 18th century, the decoration of tables becomes serious: no more
supports a castle-like architecture with crenellations and eight fortified towers with merry scenes which allegedly inspired cheerful talks. Now the table decoration is about
pointed roofs. A horizontal band with enamelled panels, which are framed by delicate indoctrination. Complete temple complexes, archaeologically verified reconstructions,
tracery, develops above. As on a church spire, this is followed by an open level with trac- precisely proportioned columns with meticulously reproduced capitals are put on the
ery. Rose and orange water was pneumatically pumped through this structure. The bells tables. Such educational landscapes were frequently arranged in the form of an antique
sparkled and the wheels turned around and around, while jets of water merrily cascaded circus. In 1805, the King of Naples had a more than five metres long centrepiece repre-
down into a no longer maintained basin. From literary tradition we know that incessant senting the Temples of Paestum manufactured by a Roman workshop and arranged to
supplies of wine were pouring from such and similar table fountains. Otherwise, people fit on the table (image 8). In 1811, Egyptian monuments from Dendera, Philae, Edfu and
were well-behaved at the table in the Middle Ages and subsequent centuries and the Luxor made of Sèvres biscuit china formed centrepieces for a 6.70-metre long table. Many
table was laid in a way we still do it today: plate, cutlery, napkin, tureen, and serving architects, including Karl Friedrich Schinkel, designed such desserts for the tables of their
plates. Dishes were served by domestics. An exception was and still is the desert for rulers, outdoing each other in terms of attention to detail, “noble simplicity and quiet
which the strict order of plates was resolved and the tables were decorated in global grandeur”. Cork models of ancient, mostly ruinous buildings let the thoughts wander
landscapes with exotic animals, flowers and trees, which – if made of sweetmeats and towards transience (image 7). Carl May, who produced such cork models in Aschaffen-
marzipan – were also intended for consumption. Here, too, architecture could not be burg for the festive table of his prince, was not by chance the court confectioner.
missing. At the splendid desert table (image 6) laid on the occasion of the wedding of Correspondingly, the models were inventoried as kitchen utensils. The climax of this
the Duke of Jülich-Cleve and the Margravine of Baden in 1587 in Düsseldorf, it was a dished up architectural history in the early 19th century is the significant Parisian chef
medieval castle which lend the dining table splendour and dignity. Antoine Carème, who conceived a world history of architecture in the form of centre-
pieces (image 4). Subsequently, the development died down and centrepieces seemed to
Centrepieces made of edible materials are attested in literature go out of style, architecture was only presented on the table for certain festivities.
Modernism cultivated the cleared up table and functionally reduced place settings. Only
On a different level, the use of ancient architectural elements and buildings on table ves- post-modernism followed the wish to be fictional instead of functional and ventured
sels has been practiced since the Renaissance. The famous Saliera (salt and pepper pot) architectural centrepieces, although this was no more than a short-term fashion.
by goldsmith Benvenuto Cellini from 1540/43 represents the erotic opponents Neptune Nonetheless, post-modern small-scale architecture for everyday uses demonstrated that
and Tellus (image 5). Neptune as God of the Sea represents salt, while Tellus, the Roman architecture was perceived as an important topic. The same might be true for the period
Goddess of the Earth, is an allegory for pepper. Salt is assigned the bowl, while pepper around 1800, when there was a public debate about value, benefit and significance of
is stored in an ancient triumphal arch. This ancient quotation could be interpreted as an architecture. Centrepieces are an indicator that people talk about architecture, and they
emphasis of the preciousness of pepper or as a reference to the Roman origin of Tellus. are an important means of conveying information to laymen. Thus it is all the more
Other centrepieces dating from the Renaissance era also added architecture. A report on important that architectural centrepieces or gadgets are not dismissed as peculiar gim-
a banquet of Pope Clemens VIII in Rome in 1593 says that “Castell S. Angeli was most micks but definitely as an educational means. Antoine Carème presupposes that every
naturally reconstructed in marzipan”. In 1608, the banqueting table at a wedding in confectioner knows and masters the “Five Orders according to Vignola”. The same
Florence included “columns” and “pyramids” as well as all sorts of “architecture in the should probably apply to those dining at a table set with his architectural creations.

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