HKB
Rubruck*, p. 86, note. Rubruck says (Soc. de Géog. p. 241): “Implevimus unum veringal de biscocto et platellum unum de pomis et aliis fructibus.” Mr. Rockhill translates veringal by basket.
Dr. Bretschneider (Peking, 28) mentions “a large jar made of wood and varnished, the inside lined with silver,” and he adds in a note “perhaps this statement may serve to explain Marco Polo’s verniques or vaselle vernicate d’oro, big enough to hold drink for eight or ten persons.”—H. C.]
A few lines above we have “of the capacity of a firkin.” The word is bigoncio, which is explained in the Vocab. Univ. Ital. as a kind of tub used in the vintage, and containing 3 mine, each of half a stajo. This seems to point to the Tuscan mina, or half stajo, which is = ⅓ of a bushel. Hence the bigoncio would = a bushel, or, in old liquid measure, about a firkin.
NOTE 3.—A buffet, with flagons of liquor and goblets, was an essential feature in the public halls or tents of the Mongols and other Asiatic races of kindred manners. The ambassadors of the Emperor Justin relate that in the middle of the pavilion of Dizabulus, the Khan of the Turks, there were set out drinking-vessels, and flagons and great jars, all of gold; corresponding to the coupes (or hanas à mances), the verniques, and the grant peitere and petietes peiteres of Polo’s account. Rubruquis describes in Batu Khan’s tent a buffet near the entrance, where Kumiz was set forth, with great goblets of gold and silver, etc., and the like at the tent of the Great Kaan. At a festival at the court of Oljaitu, we are told, “Before the throne stood golden buffets ... set out with full flagons and goblets.” Even in the private huts of the Mongols there was a buffet of a humbler kind exhibiting a skin of Kumiz, with other kinds of drink, and cups standing ready; and in a later age at the banquets of Sháh Abbás we find the great buffet in a slightly different form, and the golden flagon still set to every two persons, though it no longer contained the liquor, which was handed round. (Cathay, clxiv., cci.; Rubr. 224, 268, 305; Ilch. II. 183; Della Valle, I. 654 and 750–751.)
[Referring to the “large and very beautiful piece of workmanship,” Mr. Rockhill, Rubruck, 208–209, writes: “Similar works of art and mechanical contrivances were often seen in Eastern courts. The earliest I know of is the golden plane-tree and grape vine with bunches of grapes in precious stones, which was given to Darius by Pythius the Lydian, and which shaded the king’s couch. (Herodotus, IV. 24.) The most celebrated, however, and that which may have inspired Mangu with the desire to have something like it at his court, was the famous Throne of Solomon (Σολομώντεος Θρóνος) of the Emperor of Constantinople, Theophilus (A.D. 829–842).... Abulfeda states that in A.D. 917 the envoys of Constantine Porphyrogenitus to the Caliph el Moktader saw in the palace of Bagdad a tree with eighteen branches, some of gold, some of silver, and on them were gold and silver birds, and the leaves of the tree were of gold and silver. By means of machinery, the leaves were made to rustle and the birds to sing. Mirkhond speaks also of a tree of gold and precious stones in the city of Sultanieh, in the interior of which were conduits through which flowed drinks of different kinds. Clavijo describes a somewhat similar tree at the court of Timur.”
Dr. Bretschneider (Peking, 28, 29) mentions a clepsydra with a lantern. By means of machinery put in motion by water, at fixed times a little man comes forward exhibiting a tablet, which announces the hours. He speaks also of a musical instrument which is connected, by means of a tube, with two peacocks sitting on a cross-bar, and when it plays, the mechanism causes the peacocks to dance.—H. C.]
Odoric describes the great jar of liquor in the middle of the palace hall, but in his time it was made of a great mass of jade (p. 130).