I am done with the translation and two online classes on culinary history and just stumbled over this gem from de Rontzier:
Raised (auffgehobenen) galantine of turkey
1 Item you leave a turkey whole and cool it in water (after slaughter). Then you cook it until it is done in water and wine, salt it, and lay it in a bowl. Take a ring that is two or three fingers tall and as wide as the bowl. Set it on the bowl and smear (seal) it with dough on the outside. Lay the turkey in it. Then prepare a galantine broth of wine, water, and Bestand that is called isinglass (haußbletter), sugar, if you wish to have that with it, cardamom, so that it becomes strong of it, nutmeg, cinnamon, and a little salt. Bring it to the fire and let it come to a boil. Then pour it over the turkey through a haircloth so that it stands level with the ring (dem ring gleich stehe). When it has gelled, take off the ring and stick the galantine with whole almonds every second one (ein umb die ander) of which should be gilded. You also gild the feet and the the body above and stick it with slivered almonds. Serve it cold.
2 Item you carve up turkeys, boil them in water, prepare them in a cauldron coloured brown or yellow (macht sie in einem Kessel gelb oder braun ab) or leave them white. Prepare a galantine over them as it described here and stick it with almonds or small and large raisins etc.
This is not a very artful use of clear jelly, but certainly creative. Having it stand higher than the edge of the serving bowl and stuck all over with almonds would make for an interesting effect, though it must have been difficult to eat this without making a mess. Basically, this is a larger version of the fashionable stacks of mousse and jelly we build with steel tart rings. It is interesting that a word for isinglass was Bestand, related to stehen and suggestive of stability and permanence.
Franz de Rontzier, head cook to the bishop of Halberstadt and duke of Braunschweig, published his encyclopaedic Kunstbuch von mancherley Essen in 1598. He clearly looks to Marx Rumpolt’s New Kochbuch as the new gold standard, but fails to match it in engaging style or depth. He is thus overshadowed by the twin peaks of Marx Rumpolt and Anna Wecker. What makes his work interesting is the way in which he systematically lists versions of a class of dishes, illustrating the breadth or a court cook’s repertoire. He is also more modernly fashionable than Rumpolt. Looking to France rather than Italy and Spain for inspiration, and some of the dishes he first describes may be genuine innovations.