Recreating a Renaissance Banquet from Domenico Romoli - A Carnivale Feast from 1560

A Carnivale Feast from 1560 - Recreating a Renaissance Banquet from Domenico Romoli

An interpretation of the opening table display described by Domenico Romoli in La Singolare Dottrina (1560), where salads, meats, citrus, and other dishes were arranged together in the French banquet style.

AI Assistance Disclosure: Historical transcription, formatting, and redaction support were provided with the help of AI tools for research and editing. Some images were created or edited with AI tools. All historical interpretation and final text are curated and verified by the editor of Give It Forth.

Carnivale in Renaissance Italy was a season of spectacle. Cities filled with masks, music, parades, and elaborate feasts that stretched long into the evening. It was a moment when kitchens became theaters and cooks became artists, presenting dishes that celebrated abundance before the fasting season of Lent began.

One of the most fascinating glimpses into these celebrations comes from Domenico Romoli’s La Singolare Dottrina (1560). Romoli, sometimes called Panunto, wrote one of the great culinary and household manuals of the Italian Renaissance. His book contains not only recipes, but also advice on hospitality, household management, and the orchestration of grand banquets.

Among its treasures is a Carnivale menu (“Convito del mese di Febbraio per la festa alla francese, per il Carnevale.” A banquet for the month of February, prepared in the French style, for Carnivale), structured in the elegant service style of the period. Each course builds upon the last, moving through a sequence of dishes that balance flavors, textures, and spectacle.

Recently, I set out to recreate this Carnivale feast, cooking through a selection of dishes inspired by Romoli’s menu. Some recipes translated easily to the modern kitchen; others required a bit of interpretation. Measurements had to be estimated, ingredients adapted, and techniques tested.

The result was a delightful culinary journey into the Renaissance table.

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What Makes This Menu So Interesting

When reading through Romoli’s Carnivale banquet, two details immediately stood out to me.

“In the French Style”

Romoli introduces the meal as:

“Convito del mese di Febbraio per la festa alla francese, per il Carnevale.”
A banquet for the month of February, prepared in the French style, for Carnivale.

That phrase is important.

During the Renaissance, there were different styles of banquet service, and Romoli is deliberately telling the reader that this feast follows the French manner of presentation.

In this style of dining, large numbers of dishes were placed on the table at the same time, arranged symmetrically so that guests could see and select from them. Rather than receiving one plate at a time as we do today, diners experienced the table as a visual display of abundance.

The feast unfolded in successive services, each replacing the last:

• First service
• Antipasti
• Boiled dishes (Allesso)
• Roasts (Arrosto)
• Pastry course (Tortaria)
• Fruit course (Frutte)
• Final table offerings after the cloth

Each service created a new arrangement of dishes across the table, almost like resetting the stage between acts of a play.

Explicit Instructions for the Table

Another fascinating detail is that Romoli does not simply list recipes. He gives specific instructions about what should appear on the table.

For example, in the opening service he specifies salads, cured meats, roasted birds, citrus slices dressed with sugar and cinnamon, and capons seasoned with pepper. Later courses include elaborate pies, roasted game, sweet pastries, and preserved fruits.

These are not casual suggestions. They form a carefully balanced arrangement designed to show wealth, hospitality, and the skill of the kitchen. When viewed this way, the menu reads almost like a set of directions for constructing the table itself.

Even the final stage of the meal includes instructions for presentation: flowers, rosewater sticks, and scented herbs placed on the table along with small sweets and wine.

The result is not simply a meal but an experience designed for sight, scent, and conversation.

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Banquet Service Styles in the Renaissance

Romoli’s reference to a feast served alla francese (“in the French style”) refers not only to the food itself but to how the banquet was presented.

During the Renaissance, several different traditions of banquet service existed across Europe.

• Medieval / Italian Service – Dishes were often brought out in sequence or in loosely grouped courses. While multiple foods might appear at once, the emphasis was less on symmetrical table displays and more on the steady presentation of food by servants.
• French Service (Service à la française) – Numerous dishes were placed on the table at the same time and arranged in balanced patterns. Guests selected foods directly from the shared display while servants replaced entire groups of dishes between services.
• Russian Service (Service à la russe) – Introduced much later in the 18th–19th centuries, this is the style most familiar today: dishes are served individually and sequentially to each guest.

Romoli’s Carnivale menu reflects the French display style, where the arrangement of dishes across the table was itself part of the spectacle of the feast.

Why This Menu Feels So Elaborate

One of the first things that struck me when reading Romoli’s Carnivale banquet is just how lavish and unusual many of the dishes are. The menu includes cranes, wild game, elaborate pies filled with birds and sausage, sweet pastries, citrus dressed with sugar and cinnamon, and even dishes made from parts of animals that modern diners might find surprising.

Some ingredients listed in the menu are difficult or even illegal to serve today. Birds such as cranes, thrushes, and other wild species appear frequently in Renaissance cookbooks but are now protected under modern wildlife laws.

The abundance may seem overwhelming to modern readers, but it begins to make sense when we remember what kind of meal this was meant to be.

A Festival Feast Before Lent

This banquet was intended for Carnivale, the festive season leading up to Lent.

Carnivale was traditionally the last opportunity for indulgence before the fasting and dietary restrictions of the Lenten season. For forty days, Christians were expected to abstain from many rich foods, particularly meat.

As a result, the meals just before Lent often became the most extravagant feasts of the year. Tables were filled with meats, sweets, rich sauces, and celebratory dishes designed to showcase abundance.

Romoli’s menu reflects that spirit perfectly.

Seasonal Ingredients

The feast also reflects the late winter season.

Many ingredients listed in the menu would have been available in February:

• preserved meats such as prosciutto and sausages
• stored fruits like apples and quince
• nuts and chestnuts
• winter vegetables such as fennel and chicory
• citrus imported through Mediterranean trade

Game birds and hunted animals also appeared frequently in winter menus, when hunting seasons and cold weather made them easier to preserve.

In other words, this banquet was both festive and seasonal, drawing on the foods available at the end of winter while celebrating the last great indulgence before the austerity of Lent.

A Display of Wealth and Skill

Perhaps most importantly, Renaissance banquets were meant to impress guests.

Large numbers of dishes, unusual ingredients, and elaborate pastry constructions were not simply about feeding people. They were demonstrations of hospitality, wealth, and the skill of the kitchen.

Many dishes would have been served in small portions, and guests might sample only a few items from each service. The goal was not for a single diner to eat everything, but for the table to display variety, abundance, and artistry.

Seen in that light, Romoli’s Carnivale banquet becomes less of a practical dinner menu and more of a carefully staged culinary celebration, where the arrangement of the table itself was part of the experience.

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What to Expect in This Series

Over the next several posts, we’ll explore the dishes that formed this historic feast. Each article will include:

• the original historical recipe or reference
• a modern adaptation suitable for today’s kitchen
• notes on Renaissance cooking techniques and ingredients
• a bit of historical context about the dish and its place in the banquet

Some recipes are familiar cousins to foods we still enjoy today, while others may feel delightfully unusual. Together they help paint a picture of how people celebrated, cooked, and entertained during the height of the Italian Renaissance.

The first dishes we will explore are the ones that opened Romoli’s banquet table: Insalata di Cicoria Bianca and Insalata di Carote. These humble winter salads may seem simple, but they played an important role in balancing the rich meats and elaborate dishes that followed.

Primo servitio posto in tavola

Romoli begins the Carnivale banquet with what he calls the “first service placed on the table.” Unlike modern dining, where individual plates are served one at a time, Renaissance banquets often opened with a display of prepared dishes arranged across the table.

These foods were typically served cold or at room temperature so they could remain on the table while guests arrived and admired the arrangement. Diners could sample dishes freely while conversation began and the feast unfolded.

The original menu reads:

Convito del mese di Febbraio per la festa alla francese, per il Carnevale

Primo servitio posto in tavola

• Insalata di cicoria bianca
• Insalata di carote
• Prosciutto sfilato
• Testa di ruffolatto fredda
• Fette di cedro condite con aceto rosato, zucchero e cannella
• Gru arrosto fredda
• Capperini
• Capponi salpimentati e salsiccioni bolognesi

Translated into modern English, the dishes include chicory salad, carrot salad, shredded prosciutto, citrus slices dressed with vinegar and sugar, roasted birds, capers, and seasoned capons with sausages. When viewed together, the combination reveals a deliberate balance between rich meats and bright, refreshing accompaniments.

Below are the dishes that formed the opening display of the table.

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White Chicory Salad

Insalata di cicoria bianca

Chicory was a common winter vegetable in Renaissance Italy. Its pleasantly bitter flavor made it a natural partner for rich meats and fatty dishes. Salads like this helped balance the heavier elements of the feast while adding freshness to the table.

White chicory, often similar to modern endive or radicchio varieties, would likely have been dressed simply with oil, vinegar, and salt.

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Carrot Salad

Insalata di carote

Carrots appear frequently in Renaissance cookery, often served raw or lightly dressed in salads. Their sweetness offered a pleasant contrast to the bitterness of chicory and the saltiness of cured meats.

In many historical preparations, carrots were sliced thinly and dressed with vinegar, oil, and sometimes spices.

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Shredded Prosciutto

Prosciutto sfilato

Prosciutto was already a celebrated preserved meat in Renaissance Italy. The term sfilato suggests that the ham was pulled or shredded into strands, making it easier to serve and share at the table.

Cured meats like prosciutto were ideal for banquet displays because they could be prepared in advance and served without reheating.

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Cold Head of Ruffolatto

Testa di ruffolatto fredda

This dish likely refers to a preparation made from the head of a pig or similar animal, possibly related to head cheese or other gelatinous meat dishes common in Renaissance kitchens.

Such dishes were often simmered, pressed, and served cold, allowing the natural gelatin in the meat to set into a sliceable form.

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Citron with Rose Vinegar, Sugar, and Cinnamon

Fette di cedro condite con aceto rosato, zucchero e cannella

Citron (cedro) was a luxury citrus fruit widely traded throughout the Mediterranean. It was frequently used in sweet-and-sour dishes that balanced sugar, spices, and vinegar.

Slices of citron dressed with rose vinegar, sugar, and cinnamon would have created a striking combination of bright acidity, floral fragrance, and warm spice.

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Cold Roasted Crane

Gru arrosto fredda

Crane was once a prestigious game bird served at elite European banquets. It appears in several medieval and Renaissance cookbooks as a roasted dish presented cold.

Because cranes are now protected in most regions, modern recreations of this dish typically substitute duck or goose.

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Capers

Capperini

Capers were a popular garnish and flavoring ingredient in Renaissance cooking. Their sharp, salty flavor helped cut through rich meats and added contrast to the banquet table.

Small capers were often served simply pickled in vinegar or brine.

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Peppered Capons and Bologna Sausages

Capponi salpimentati e salsiccioni bolognesi

This final dish combines roasted capons seasoned with pepper and large sausages in the Bolognese style.

Capon, a castrated rooster prized for its tender meat, was considered a luxurious poultry dish. When paired with richly seasoned sausages, it formed one of the more substantial elements of the opening service.

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A Carefully Balanced Opening Table

Although the list may seem eclectic at first glance, the arrangement reveals careful planning. Bitter greens, sweet carrots, citrus, and capers provide sharp and refreshing notes that balance the rich meats and roasted birds.

Many of the dishes are also served cold, allowing them to remain on the table as guests arrived and admired the display.

Seen in this context, Romoli’s first service was not simply a course of food. It was the opening tableau of the banquet—a carefully arranged display meant to welcome guests and set the tone for the feast that followed.

Torta Bianca – White Tart (Redon, 1998)

Torta Bianca – White Tart (Maestro Martino → Redon, 1998)

“The Feast in the House of Levi” (detail), Paolo Veronese — banquet context for Renaissance tortes.

Torta bianca (“white tart”) was a dish of status and symbolism. Appearing in Maestro Martino’s Libro de arte coquinaria (c. 1465), it used fresh white cheese, egg whites, sugar, butter, and milk — baked gently, then perfumed with rosewater and sprinkled with sugar. In Renaissance Italy, white foods carried associations of purity, refinement, and health. By Scappi’s time (1570), torte bianche included versions with provatura (fresh stretched-curd cheese) or ricotta blended with Parmigiano.

How this post is structured

Below: (a) Martino’s original Italian text, (b) a literal English translation, (c) Redon’s modern adaptation summary, then a modern tested recipe. Afterward you’ll find 🥕 dietary notes, 📖 menu placement, substitutions, historical notes, cross-links, sources, labels, schema, and ⚖ humoral theory.

Original & Translated Recipes

Maestro Martino (c. 1465) — Italian

Per fare torta biancha. Togli del bono cascio frescho, et biancho, et pistalo molto bene nel mortaro, et metigli del zuccaro, et qualche quarta parte di butiro; et se vi mettessi un poco di lardo tanto meglio serà; poi mettivi alquanti chiari d’ova, et un poco di latte; et mettile sopra lo fuoco piano, et mescola spesso col cocchiaro. Et quando sarà ben mescolato, impastalo con fior di farina, et fa’ la torta cum lo crusto di sopra et di sotto. Et ponila a cocere in lo testo, o al forno, cum fuoco lento di sopra et di sotto; et quando serà cotta, gettagli di sopra un poco di zuccaro et acqua rosata; et serà bona.

Modern English (literal)

To make a white tart. Take good fresh white cheese and pound it very well in a mortar; add sugar and about a quarter part of butter (a little lard is even better); then some egg whites and a little milk. Set it over a gentle fire, stirring often. When well mixed, work it with fine flour, and make the tart with a crust above and below. Bake with gentle heat above and below; when cooked, sprinkle with sugar and rosewater, and it will be good.

Modern Adaptation (Redon)

A baked pie shell filled with a mixture of cream cheese, egg whites, sugar, butter, and milk. Baked until pale, finished with sugar, rosewater, and candied cherries.

Modern Recipe

De la insaleggiata di cipolle – Renaissance Onion Salad with Spices

De la insaleggiata di cipolle – Renaissance Onion Salad (Redon, 1998)

“The Feast in the House of Levi” (detail), Paolo Veronese. Used here as period context for Renaissance spiced vegetable dishes such as onion salad.

Context: De la insaleggiata di cipolle is a medieval-to-Renaissance Italian onion “salad.” Onions are roasted in embers or a hot oven until sweet and soft, then sliced and dressed with wine vinegar, oil, and spezie forti (strong spices). These sharp, spiced starters were common on Italian banquet tables as appetite-whetting openers or vegetable accompaniments in the early courses.

Original Recipe (Libro della cucina, 14th c.)

Italian (Zambrini ed., 1863):
“Togli cipolle; cuocile sotto la bragia, e poi le monda, e tagliale per traverso longhette e sottili: mettili alquanto d’aceto, sale, oglio e spezie, e dà a mangiare.”

English (faithful translation):
“Take onions; cook them under the embers; then peel them, and cut them across into long, thin slices; put on a little vinegar, salt, oil, and spices, and serve.”

Redon paraphrase (1998)

“Roast onions in the fire until blackened. Peel, slice finely, and season with salt, vinegar, oil, and spices.”

This dish reaches us in three layers: the terse 14th-century text, Redon’s Renaissance-informed paraphrase, and the modern tested adaptation below.

Comparison: Medieval → Redon → Modern

Source	Text / Notes
Libro della cucina (14th c.)	“Cook under embers; peel; slice long and thin; dress with a little vinegar, salt, oil, and spices; serve.”
Redon (1998)	“Roast in the fire until blackened; peel; slice finely; season with salt, vinegar, oil, and spices.”
Modern (tested)	Gives exact quantities, 500°F oven option, spice blend measure, substitutions, and serving notes.

Modern Recipe (Redon-inspired; tested)

Fava fresche con brodo di carne – Fresh Fava Beans with Meat Broth

Fava fresche con brodo di carne – Fresh Fava Beans with Meat Broth (Redon, 1998)

“The Feast in the House of Levi” (detail), Paolo Veronese — used here as period context for a Renaissance table.

Context & Notes

Fava fresche con brodo di carne is a rustic Renaissance preparation: fresh spring fava beans briefly simmered in meat broth, enriched with a little cured pork, and finished with parsley and mint. The technique keeps the beans tender while letting a few split to lightly thicken the broth.

Seasonality & status: Fava beans were among the first fresh foods after Lent and signaled the turn from winter storage fare to spring produce. Courtly kitchens “elevated” this staple through refined broth, measured cooking, and aromatic herbs—much as spices elevate simple noodles in De lasanis.

Broth choice: Chicken broth reads lighter and more restorative for warmer weather; beef broth is heartier and “strengthening.” Either appears in period practice depending on the season and desired effect.

Humoral Notes (with pork nuance)

Fava beans: generally cold & moist.
Pork: fresh pork was classed as cold & moist and heavy; salted/cured pork (pancetta, salt belly) was thought to gain warming/drying qualities from salt and smoke—still rich, but more balancing when used sparingly.
Herbs: parsley and mint are warming/aromatic correctives.
Broth: chicken leans lighter; beef leans more warming/fortifying.

Thus this dish pairs a cold/moist base (beans) with modest warming elements (cured pork, hot broth, herbs) to arrive at a comfortable middle course—similar to how spices balanced the cheese-and-pasta profile in De lasanis.

Side-by-Side: Original (Redon, 1998) & Modern Notes

Original (Redon, 1998)

Ingredients: 2 cups beef or chicken broth (or mix), 4½ lb fresh fava beans, 4 oz salt pork belly or pancetta, 1 Tbsp chopped parsley & mint; salt.

Method: Shell beans; blanch briefly (5 seconds), refresh, peel. Dice pork. Simmer broth, beans, and pork ~10 minutes until beans begin to break. Add herbs; return to a brief boil. Salt to taste and serve.

Modern Adaptation – What’s Different?

• Yield clarity: 4½ lb in-pod ≈ ~1 lb shelled beans.
• Texture cue: “Begin to break” = lightly thickened broth, not mashed.
• Herb timing: Herbs added at the end to keep flavors vivid.
• Pork form matters: Pancetta/salt pork (cured) used in small amount for savor and humoral balance.
• Broth intent: Chicken for lighter tables; beef for heartier service.

Scappi’s Minestra di Piselli & Fave fresche (1570, Libro III, #249)

Per far minestra di Piselli & Fave fresche:

Piglinosi i piselli o baccelli, sgraninosi, & ponganosi in un uaso con oglio d’oliue, sale, & pepe, & faccianosi soffriggere pian piano, aggiungendovi tanta acqua tinta di zafferano, che stiano coperti di due dita, & come saranno poco men che cotti, pestisene una parte nel mortaro, e stemperisi con il medesimo brodo, & mettasi nel uaso con una branchata d’herbuccie battute, e faccianosi levare il bollo, e servanosi caldi.

 Translation (modern English):

“Take peas or broad beans, shell them, and put them in a pot with olive oil, salt, and pepper. Let them sauté gently, adding in enough water, colored with saffron, to cover them by about two fingers. When they are a little less than cooked, pound part of them in a mortar and dilute that with the same broth; return it to the pot with a handful of chopped herbs, bring it all to a boil, and serve it hot.”

🍲 Modern Recipe

Serves: 4 • Active: 20 min • Total: ~30 min

Ingredients

• 2 cups (480 ml) beef or chicken broth (or 50/50 mix)
• 4½ lb (about 2 kg) fresh fava beans in pod (≈ 1 lb / 450 g shelled)
• 4 oz (115 g) salt pork belly or pancetta, finely diced
• 1 Tbsp fresh parsley, chopped
• 1 Tbsp fresh mint, chopped
• Kosher salt, to taste

Method

1. Prep beans: Shell. Blanch 5 seconds in boiling water, refresh in cold water, slip off the outer skins.
2. Simmer: In a saucepan, combine broth, diced pork, and beans. Bring to a boil, reduce to a lively simmer, and cook about 10 minutes, until beans just begin to soften and a few split to lightly thicken the broth.
3. Finish: Stir in parsley and mint; return to a brief boil (30–60 seconds). Season with salt and serve hot.

🔍 Scappi’s Renaissance Version (1570)

In Opera (Libro III, #249), Scappi prepares fresh peas or broad beans by gently sautéing them in olive oil with salt and pepper, adding saffron-tinted water to cover, then pounding a portion to thicken before finishing with chopped herbs and a brief boil.

“Take peas or broad beans, shell them, and put them in a pot with olive oil, salt, and pepper. Sauté gently, add enough saffron-colored water to cover by two fingers. When just underdone, pound part of them with the same broth, return to the pot with a handful of chopped herbs, bring to a boil, and serve hot.”

Why it matters: Scappi’s technique—partial purée, saffron infusion, hot herb finish—shows the same courtly refinement and humoral balance as our version: a cold/moist base (beans) corrected by warming elements (olive oil/saffron or, in Redon’s adaptation, cured pork and broth).

🌱 Fava Beans in Renaissance Feasts: Beyond the Soup Pot

1. Seasonal & Symbolic Role

• Springtime signal: Fresh favas (fave novelle) were among the first green vegetables of the year after the long winter and Lenten fasting. Their arrival marked renewal, fertility, and abundance — an edible herald of spring.
• Festal symbolism: In Italy, beans had associations with fertility and rebirth. They were often planted around feast days (especially St. Joseph’s Day in March), and dishes of beans could appear at communal meals tied to seasonal celebrations.

2. Culinary Uses in Feasts

• Pottages & broths: Most common at court — boiled with herbs, broth, pork, or oil (as in Redon/Scappi’s versions). They provided a filling, comforting “wet dish” for the second course.
• Purees: Scappi frequently thickened broths or created side dishes by pounding a portion of the beans. This gave variety in texture and aligned with elite tastes for smooth, refined preparations.
• Side accompaniments: Favas could be served with meat, often pork or mutton, as a cheap protein extender and humoral counterbalance.
• Lenten adaptations: Without meat, they might be prepared with oil, saffron, and herbs — still satisfying but acceptable during fast days.

3. Humoral & Medical Considerations

• Humoral qualities: Cold & moist. Physicians warned they were heavy to digest and could cause flatulence if eaten in excess.
• Correctives: Cooking with salt, pork, oil, or warming herbs like mint and parsley was thought to “lighten” them, making them safer for the stomach.
• Dietary prescriptions: Favas were often recommended for the working poor for strength but taken in moderation by elites. In courtly kitchens, refinement (skinning, pounding, spicing) made them suitable for noble digestion.

4. Cultural & Social Dimensions

• Peasant vs. elite divide: Beans were a staple of peasant diets, but when transformed with broth, pork, saffron, or fine herbs, they crossed into noble cuisine. This dual identity made them ideal for “bridging” courses in feasts.
• Religious associations: Favas had an odd role in funerary traditions in some parts of Europe (linked with the dead and All Souls’ Day). In Italy, fava-based sweets (fave dei morti) are still tied to this tradition — showing the bean’s symbolic reach beyond daily food.
• Feast planning logic: For a steward, fava dishes were economical, seasonal, and versatile. They stretched meat supplies, added color and variety to courses, and showed seasonal awareness — all important in demonstrating a host’s refinement.

🍽 Menu Placement (Feast Planning)

• Dish Type: Pottage (a “wet” course served in or with broth)
• Course: Second course (Pottage course). Because beans digest heavy in some frameworks, serve moderate portions or as a remove between roasts.
• Service tips: Offer trenchers or bread to soak up the savory broth.

🥕 Dietary Suggestions

• Gluten-free.
• Pork-free: Swap in smoked turkey or omit meat and add 1–2 Tbsp olive oil for body.
• Vegetarian: Use vegetable broth; finish with a knob of butter or extra-virgin olive oil.

📚 Sources

• Redon, 1998 (adaptation as provided).
• Period dietetic summaries consulted for general fresh vs. cured meat distinctions and bean qualities.

🏷 Labels

• Browse by Dish Type: Pottage
• Browse by Ingredient: Legumes, Pork, Herbs
• Browse by Use: Feast Planning, Period Techniques, Humoral Theory
• Browse by Era: Renaissance, Italian

📖 This recipe is part of the Ceilidh 2001 – Fourteenth-Century Italian Feast .
Explore all dishes from this reconstructed 14th-century Italian banquet.

De Lasanis – Medieval Lasagna with Cheese, Pepper & Spices

De Lasanis – Fermented-Dough Noodles with Cheese & Pepper

“The Feast in the House of Levi” (detail), Paolo Veronese. Used here as period context for Renaissance pasta and cheese dishes.

Source: The Medieval Kitchen, Odile Redon, Françoise Sabban, and Silvano Serventi (1998)

De lasanis is one of the earliest references to pasta dishes resembling modern day cacio e pepe. The resemblance is striking — a simple but elegant combination of starch, cheese, and spice that became a cornerstone of Italian cookery. Redon's addition of yeast imparts a tang and complexity most modern cooks miss when substituting dried lasagna noodles. If you can, I recommend making your own—it’s surprisingly easy and richly rewarding.

Fungi di Monte – Renaissance Italian Mushrooms from Scappi (1570)

Fungi di Monte – Renaissance Mountain Mushrooms

“The Feast in the House of Levi” (detail), Paolo Veronese. Used here as period context for a Renaissance savory pie.

Sources: Bartolomeo Scappi, Opera dell’arte del cucinare, 1570 (Book II, cap. 193); Odile Redon, Françoise Sabban, Silvano Serventi, The Medieval Kitchen, 1998.

Mushrooms were a popular ingredient in Renaissance Italy, eaten in fast-day dishes and served alongside roasted meats. This recipe for Fungi di Monte (“mushrooms of the mountain”) comes to us from Bartolomeo Scappi’s monumental 1570 Opera. Redon adapts it into a clean, modern version while preserving its essential spicing and method.

Historic Recipe (Scappi, 1570)

Per cuocere funghi di monte in più modi. Dopo che saranno ben nettati, si cuociano in acqua calda, & si lascino scolare; poi si facciano soffriggere con cipolla trita, olio, sale, pepe, canella, garofali, & altre buone spetiarie. Si possono anco cuocere con burro fresco, & cacio parmigiano, & similmente si possono friggere in pastello.

Translation

To cook mountain mushrooms in several ways. After they are well cleaned, cook them in hot water and let them drain; then fry them with chopped onion, oil, salt, pepper, cinnamon, cloves, and other good spices. They may also be cooked with fresh butter and Parmesan cheese, and likewise they may be fried in batter.

Torta d’Aglio (Garlic Torte) – Renaissance Savory Pie with Cheese, Garlic & Spices

Torta d’Aglio (Garlic Torte)

Italian Renaissance • Savory Pie • Feast-Friendly

“The Feast in the House of Levi” (detail), Paolo Veronese. Used here as period context for a Renaissance savory pie.

This savory pie highlights gentled garlic — blanched to soften its sharpness, then blended with fresh cheese, butter, and warming spices. Adapted from Martino’s 15th-century Libro de arte coquinaria, the dish balances flavors in line with Renaissance cooking theory and humoral practice.

🥕 Dietary Notes: Vegetarian & gluten-free adaptations included.

Polpettoni alla Romana – Renaissance Beef Skewers

Kitchen scene from Bartolomeo Scappi’s Opera (1574). Library of Congress.

Polpettoni alla Romana – Renaissance Beef Skewers (Scappi, 1570)

Updated with historical context, vegetarian/vegan alternatives, and TOA interlinks.

At my Tournament of the Arts (2024) luncheon, these went fast. Adapted from Bartolomeo Scappi’s Opera (1570), they’re not meatballs but “fingers”—chunky strips of lean beef, larded, marinated in sweet–sour must and rose vinegar with warm spices, then skewered with sage and bacon and roasted. They’re dramatic, portable, and perfect for camp kitchens, dayboards, or a roast platter. Think Renaissance barbecue—minus the smoke ring, plus saffron glaze.

Original Recipe (Scappi, Opera 1570)

Per fare polpettoni alla romanesca di lombolo di boue, o di uaccina
Get the leanest part of the tenderloin… sprinkle with ground salt and fennel flour or coriander with common spices. Set four lardoons of marbled salt pork in each piece. Place them in a press with that mixture and a little rose vinegar and must syrup for three hours. Then mount them on a spit with a rasher of bacon and a sage or bay leaf between each piece; cook over a moderate fire. When done, serve hot with a sauce of their drippings together with what exuded from them in the press, somewhat thick and saffron-coloured.

Piatti di Salumi: Renaissance Antipasti & Mostarda (period and non-period recipe included)

“The Royal Feast” by Alonso Sánchez Coello (1531–1588), oil on canvas, public domain. A sumptuous Renaissance banquet scene that captures the richness and communal spirit of salumi, fruit, and condiments on the table.

Piatti di salumi, formaggi, olive, frutta fresca e secca e senape

Plates of cured meats, cheeses, olives, fresh and dried fruit, and mustard — listed on our 12th Night 2024 menu and served during the Primo seruitio posto in Tavola (first service on the table, antipasti). Charcuterie is a modern framing; the Italian period lens is salumi with fruit, bread, olives, and a sweet-hot mostarda. Prepared and plated by Dan Parker, the board leaned rustic and abundant—grapes spilling over, glossy olives, rosemary releasing aroma as diners reached in.

Period Context: Salumi & Mostarda

While “charcuterie” is a French term, the Italian table has long featured salumi—prosciutto, pancetta, lardo, coppa, and regional salami—paired with breads, olives, grapes, and preserved fruits. Renaissance sources also describe mostarda (sweet fruit with mustard heat). Bartolomeo Scappi (1570) includes a Mostarda amabile that blends cooked quince and apple with sugar, candied citrus, and mustard essence.

Scappi, Opera (1570), Libro II, cap. 276 — “Per far Mostarda amabile”
Quince and apples cooked with wine & sugar, worked with candied citrus and spiced with mustard—pounded to a smooth, sweet-hot sauce.

For this feast I used a modern, chutney-style mostarda for ease and flavor balance (link below), which sits comfortably in the same family even if the texture and acidity are more contemporary.

Mostarda: Period vs. Modern (quick comparison)

How Scappi’s mostarda differs from the modern chutney used at feast

Aspect	Period (Scappi, 1570)	Modern Chutney Used	Practical Notes
Fruits	Quince & apples; candied citrus peels	Apples & pears; dried cherries/cranberries	Both seasonal & flexible; quince gives classic perfume
Sweet/acid	Sugar + wine + grape must	Sugar + white wine + cider vinegar	Modern reads more “chutney” from vinegar
Heat	Mustard essence/seed	Mustard seed + ground mustard + cayenne	Adjust heat post-cook to taste
Texture	Smooth, pounded sauce	Chunky, spoonable conserve	Either pairs well with salumi & cheese
Make-ahead?	Yes — improves with rest	Yes — 3–4 weeks refrigerated	Ideal for feast workflow

Braised Onions & Florentine Walnut Sauce – Renaissance Recipes for Lent

Braised Onions & Florentine Walnut Sauce – Renaissance Recipes from Scappi and the Anonimo Veneziano

Two Renaissance dishes: Scappi’s braised onions and the Anonimo Veneziano’s Florentine walnut sauce—perfect for Lenten tables and historical menus.

Renaissance Italian cooks excelled at creating rich, satisfying dishes even during Lenten fasting, when meat, dairy, and animal fats were forbidden. This post brings together two such dishes from different, yet overlapping culinary traditions: Braised Whole Onions from Bartolomeo Scappi’s monumental Opera dell’arte del cucinare (1570) and Savor di Noci alla Fiorentina (Florentine Walnut Sauce) from the Libro di cucina/ Libro per cuoco (Anonimo Veneziano, 14th–15th century). While separated by time, both recipes reflect the ingenuity of cooks in crafting full-flavored fare from vegetables, nuts, and spices.

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Historical Context

Bartolomeo Scappi (c. 1500–1577), personal chef to several popes, authored one of the most detailed Renaissance cookbooks. His onion preparations show how texture (parboil, then gentle frying/braising) and small finishings (sugar & cinnamon, or savory sauces) elevate humble ingredients. The Libro di cucina/ Libro per cuoco (Anonimo Veneziano) is a late medieval Italian collection that bridges regional tastes and techniques; its Savor di Noci builds body with bread and nuts and layers in “sweet and strong” spices—an enduring Mediterranean profile that pairs beautifully with vegetables and fish.

Ingredient Notes & Substitutions (Modern vs. Historic)

• Onions: Scappi favors large onions; modern sweet onions (Vidalia, Walla Walla, Spanish) mimic the gentle flavor. Yellow storage onions work; extend the parboil and finish with a touch more oil.
• Olive oil vs. animal fat: For Lenten days, oil replaces butter/lard. Use a mild extra-virgin olive oil; historical kitchen oils varied by region and cost but olive oil is authentic to Italy.
• Verjuice vs. lemon juice: Period recipes commonly use agresto (verjuice). If unavailable, lemon juice or a mix of lemon + a splash of white grape juice or cider vinegar gives similar acidity without wine.
• Walnuts: European walnuts (English/Persian) are standard. Toast lightly if your nuts taste flat; cool before grinding to avoid bitterness.
• Parsley: Flat-leaf (Italian) parsley best matches period use; it purées cleaner than curly parsley.
• Bread & breadcrumbs: Period thickeners were yesterday’s bread crumbs. Use plain white breadcrumbs (no herbs). For gluten-free, use a neutral GF crumb; texture may be slightly looser—reduce broth by 1–2 Tbsp.
• Stock/broth: The Libro di cucina walnut sauce is built on fish broth; for meatless days use fish stock or vegetable broth. Veg broth yields a milder, greener profile that pairs well with the onions.
• Sugar & cinnamon finish (onions): Sweet seasonings on savory dishes were fashionable and humoral in intent. A light dusting is correct—aim for aromatic, not dessert-like.
• Flouring the onions: Scappi allows a light dredge before frying/braising for delicate crust and sheen. Skip for a strictly sauced presentation.
• Garlic: Raw garlic in the sauce is period-correct; simmering in broth tames sharpness. For gentler flavor, mortar the garlic with salt first.

How These Dishes Reflect Renaissance Culinary Practice & Culture

• Lenten discipline & ingenuity: Church fasting rules shaped daily menus. Cooks developed satisfying oil-based dishes (no meat/dairy/animal fats) that leaned on vegetables, nuts, bread, and fish. Braised onions in oil and a walnut-thickened sauce are textbook Lenten strategies.
• Bread as technique, not just starch: Breadcrumbs are a signature medieval–Renaissance thickener, giving body and a silky mouthfeel without dairy.
• Nuts for richness: Walnuts (and almonds) stand in for cream/butter, delivering both fat and texture. Nut sauces were common across elite and everyday kitchens.
• Sweet & savory balance: The period palate prized contrasts—sweet with savory, sour with spice. Sugar-cinnamon on onions and “sweet & strong” spice blends in sauces reflect fashionable taste and humoral thinking about balancing qualities.
• Acid frameworks: Verjuice, citrus, and vinegar brighten dishes and aid digestion. The lemon/verjuice finish on onions and the broth-simmered walnut sauce show this acid thread.
• Continuity across eras & sources: Pairing a Scappi recipe (printed, 1570) with a Libro di cucina manuscript (14th–15th c.) shows how older medieval techniques persisted and evolved in Renaissance kitchens.
• Technique-forward cookery: Parboil → drain → gentle oil cook for onions; grind → simmer to thicken for the sauce. Texture management was a core culinary skill in elite households.

Takeaway: These dishes aren’t “making do”—they’re deliberate, technique-driven plates that display Renaissance taste, texture, and balance within the constraints of the liturgical calendar.

Recipe 1: Braised Whole Onions (Scappi, 1570)

Original (summary from Scappi)

Modern Translation

Parboil large onions in salted water until well cooked. Drain and prick to release water. Optionally flour them, then fry or braise in olive oil until golden, or stuff them with a spiced nut-and-herb mixture before braising. Serve with sugar and cinnamon, or with garlic or green sauce. (Variants include stuffing with the mixture referenced in Scappi’s eggplant recipes; add cheese and eggs on non-fasting days.)

Parboil onions, drain well, and prick so excess water escapes. Fry or braise in olive oil until tender and golden. Serve sprinkled with sugar and cinnamon, or dress with a savory sauce (garlic, green sauce, or the walnut sauce below). Stuffed versions use a spiced nut-herb filling and are finished with verjuice and aromatics.

Italian Renaissance Spit Roasted Beef made with Salted Brisket & Served with Sweet Mustard Sauce from Scappi

Animal detail from medieval illuminated manuscript, British Library Harley MS 3244, 1236-c 1250, f47r

Arrosta — the grand roast course of a Renaissance feast — was far more than just meat on a spit. In Bartolomeo Scappi’s Opera (1570), the arrosta included an impressive variety: spit-roasted meats, braised vegetables, elegant sauces, pasta, and even colorful jellies. This was the third course of our 12th Night 2024 feast, following the Alesso course. It showcased the depth of Italian Renaissance cooking, balancing hearty dishes with refined accompaniments.

For this feast, we adapted Scappi’s recipes for a modern feast kitchen, using brisket in place of a full rack of beef ribs, seasonal vegetables, and accessible modern cooking methods — without losing the rich flavors of the originals.

Historical Context: The Arrosta in Renaissance Dining

Bartolomeo Scappi, personal chef to several Popes, published his monumental cookbook in 1570. His work captures both grand courtly dining and practical Lenten fare. The arrosta course was often the centerpiece of a meal, designed to impress guests with skill, abundance, and variety. Alongside the expected roasts, Scappi included vegetable dishes, pasta, and desserts, showing the Renaissance love for balanced and abundant tables.

In Renaissance banquet tradition, the arrosta — literally “roast” — was more than a single dish. It was a set course, positioned after the boiled meats (al lesso) and before the final sweets, and served as a showcase for the host’s wealth, skill, and access to prime ingredients. In Italian and broader European practice, this course could include not only spit-roasted meats, but also fried, grilled, and baked dishes, as well as richly sauced accompaniments.

Theory of Digestion and Humoral Balance

The Renaissance kitchen did not operate solely on taste — it was deeply influenced by the Galenic theory of digestion. According to this model, digestion happened in stages, with foods progressing from lighter and moister to heavier and drier as the meal went on. Roasted meats were considered among the “drier” preparations, especially when spit-roasted over open flame, which was thought to reduce their innate moisture. Without correction, such dishes were believed to tax the body and cause imbalance in the humors, particularly in those of “dry” constitution.

To make these roasts more healthful and digestible, period cooks paired them with moistening sauces — sweet, tart, or spiced — that counterbalanced dryness. This is why Renaissance cookbooks, including Bartolomeo Scappi’s monumental Opera (1570), often present roast recipes alongside multiple sauce preparations. In our feast, this principle is reflected in the Salsa di Mostardo amabile (sweet mustard sauce) and the walnut-garlic sauce served with the beef.

Variety Within the Roast Course

While the name suggests a single cooking method, the arrosta could include:

• Spit-roasted meats — large joints of beef, lamb, game birds.
• Grilled dishes — chops, skewers, or offal.
• Fried items — fritters, pastries, and delicate morsels.
• Baked pies and pasties — often with meat or cheese fillings.

This variety allowed the cook to display mastery over multiple techniques while still keeping within the course’s “dry” category in humoral terms.

Salting as a Preservation Technique

Our beef for this course followed a process rooted in Renaissance preservation methods. Salting was one of the most important means of keeping meat edible beyond the immediate slaughtering period, especially before reliable cold storage. Coarse salt (often mixed with aromatics like fennel, coriander, or garlic) was rubbed into meat to draw out moisture through osmosis, inhibiting bacterial growth. In larger households and urban kitchens, salted meats allowed for advance preparation and easier provisioning — vital for feast service where dozens or even hundreds of guests might be served.

In Scappi’s recipes, salting could be brief — just hours — for seasoning and texture, or extended over several days for preservation. The salted pressed beef method we adapted for our brisket echoes both preservation and seasoning traditions, ensuring flavorful meat that holds its structure through long, slow cooking. In feast context, the ability to produce such meat out of season or far from slaughter was a mark of logistical skill and kitchen sophistication.

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Menu

1. Per arrostire allo spiedo un carré di costolette di manzo – To spit-roast a rack of beef ribs (Brisket substitution) 
2. Per brasare le cipolle intere in quaresima – To braise whole onions in Lent 
3. Salsa di noci e aglio – Walnut and Garlic Sauce 
4. Salsa di Mostardo amabile – Sweet Mustard Sauce 
5. Per far diverse minestre di zucche Turchesche – Turkish Squash 
6. Tortelletti d’herba alla Lombarda – Herb tortellini in the Lombard Style 
7. Gelo in bocconcini di piu colori piatti – Jelly in small bites, of many colors 

Golden Fritters of the Renaissance – Scappi’s Fritelli di Riso

Vincent of Beauvais, Speculum historiale, France ca. 1294-1297 Boulogne-sur-Mer, Bibliothèque municipale, ms. 130II, fol. 87v.

Fritelli di Riso – Sweet Rice Fritters (Scappi, 1570)

Rice fritters may not sound exciting on paper—but let me tell you, these were the bombdiggity. I originally planned to test a savory version (I thought it might better suit modern palates), but after one sweet trial? Sold. The almond milk and sugar were perfect. Even better, the flavors made a lovely foundation for the  fricassee of rabbit and black broth it was served with. This dish punched way above its weight in the Alesso Course lineup.

The Allesso Course: Fricasseed Rabbit and Black Broth from Scappi’s Renaissance Kitchen

The Allesso Course: Fricasseed Rabbit and Black Broth from Scappi’s Renaissance Kitchen

In Renaissance Italy, the Allesso course was far more than a collection of humble boiled meats. Derived from the Italian lessare (“to boil”), allessi were dishes of poached or stewed meats and vegetables, prepared with care and often elevated through refined presentation or garnishes. In the kitchens of Bartolomeo Scappi, personal chef to Pope Pius V, even the simplest allesso was transformed into a work of culinary art.

Unlike the more theatrical roast course that often followed, the Allesso course was meant to be soothing, nourishing, and elegantly restrained. It reflected Galenic medical principles, which emphasized balance, moisture, and ease of digestion. During our 12th Night 2024 feast, this course included two complementary dishes prepared by Catherine Greenwood: a savory fricassee of rabbit and a rich, dark brodo nero—a black broth flavored with fruit, spices, and wine. These dishes were served together to highlight the contrasting techniques of sautéed and boiled preparations under one thematic course.

Twisted Bread of Milk and Sugar – Pani di latte e zuccaro (Messisbugo, 1557)

Twisted Bread of Milk and Sugar – Pani di latte e zuccaro (Messisbugo, 1557)

Course: Bread for the Table
Event: 12th Night 2024 Feast
Served with: Butter in the shape of a crescent moon

This enriched Italian Renaissance bread is drawn from Cristoforo di Messisbugo’s Libro Novo (1557). Twisted or shaped round, it uses rosewater, egg yolks, and sugar to create a tender, aromatic loaf perfect for feasts and celebrations.

Bread, Beauty, and Banquets – Renaissance Context

Daily Bread and Dietary Staples

In Renaissance Italy, bread formed the . Historical records and dietary accounts suggest that an average adult consumed 1 to 2 pounds of bread per day, depending on class, region, and occupation.¹ This was true for both peasants and elites, although the quality of flour and preparation varied. Bread was consumed at every meal—not just as a side, but as a plate, spoon, and primary calorie source. It was political, economic, and symbolic: the price of bread could trigger riots, and its presence at table was a sign of domestic stability and hospitality.

Flour Types in the Renaissance – and Modern Substitutes

Messisbugo calls for “fiori di farina burattata”—the flower of flour, meaning the whitest, finest sifted wheat flour. This would have been milled from soft wheat and carefully bolted (sifted) to remove bran and middlings.² Such flour was expensive and associated with cakes, festival breads, and noble kitchens. A typical household might use a rougher, darker loaf, while fine “white” bread marked both status and refinement.

To mimic this in modern kitchens, the recipe uses a combination of:

• Cake flour – for the finely sifted texture of historical “fior di farina”
• Whole wheat flour – to reintroduce complexity and some of the historical grain flavor
• All-purpose flour – for gluten development and structure

Why Nine Ounces?

The original recipe title translates as "Bread of Milk and Sugar, each one nine ounces".³ This precision suggests a pre-portioned serving size—likely large enough to be substantial, but individual rather than shared. At 9 oz, each loaf was about the size of a modern personal roll or mini-brioche—rich enough to be filling, decorative enough to stand alone, and convenient for banquet service. Messisbugo’s note that the loaves may be made “larger or smaller” confirms this was a flexible—but intentional—starting point.

Enrichment, Aesthetics, and Symbolism

Unlike the daily peasant loaf, this bread was highly enriched: rosewater, sugar, milk, butter, and an astonishing 75 yolks in the base recipe. These were festival ingredients—meant to showcase wealth, honor the guest, or mark a special occasion.⁴ Messisbugo emphasizes the bread’s beauty, advising it be shaped “round, twisted, or in buns” depending on the cook’s judgment. This echoes the broader Renaissance fascination with form as function: food was art, signaling refinement as well as taste.

Crescent Butter and Decorative Serving

The use of crescent shapes in a Renaissance feast, especially in January, is steeped in seasonal, religious, and astrological symbolism. The crescent moon shaped butter was specifically called out in Domenico Romoli’s La Singolare Dottrina, "Menu for the Month of January" which was our inspiration for this menu. At our 12th Night feast, the bread was served alongside crescent moon–shaped butter—a poetic addition not in the original recipe, but one that honors the period’s love of symbolism and seasonal meaning. Celestial forms like the crescent often appeared in banquet decor, heraldry, and religious iconography. Serving shaped butter alongside this bread nods to that heritage and elevates the experience—just as Messisbugo intended.

🌙 Crescent Symbolism in January and Renaissance Feasting

1. Lunar Symbolism  

• The New Cycle Begins January is the first month of the year, and crescent moons — especially the waxing crescent — were seen as symbols of new beginnings, rebirth, and the start of a cycle. 
•  In humoral and astrological medicine, the moon’s phases were believed to influence digestion, planting, bleeding, and emotional states. 
•  A waxing crescent in January would have been viewed as favorable for growth, renewal, and balance — ideal virtues to invoke at a feast welcoming the new year. 

 2. Marian Symbolism  - The Virgin Mary and the Crescent 

• The crescent moon was a common Marian symbol in Catholic iconography, especially in post-medieval Italy. 
•  Revelation 12:1 describes the Virgin Mary as “a woman clothed with the sun, with the moon under her feet,” often shown standing on a crescent in religious art. 
• A January feast falls near Epiphany (January 6) and the Feast of the Holy Name of Mary (formerly January 1), making Marian imagery seasonally resonant. 
•  Serving crescent-shaped foods — like butter, cookies, or marzipan — could be a subtle devotional nod woven into banquet display. 

3. Celestial and Astrological Themes

• Banquet as Cosmos Renaissance banquets were not just meals — they were symbolic microcosms, often reflecting celestial order. 
• Shapes like stars, suns, and moons were used in pastry, sugar sculpture, and even molded butter to align the table with divine harmony. 
•  January’s association with Capricorn (ruled by Saturn) may also factor in, as crescents could symbolically balance Saturn’s cold, dry temperament with the moist, life-giving lunar humors. 

4. Aesthetic Elegance and Seasonal Harmony 

• The crescent shape was elegant and symmetrical, favored for both religious and artistic reasons. 
•  In Domenico Romoli’s Doctrine, the “Banquet of the Month of January” includes foods shaped like crescents or stars, aligning with the seasonal theme of celestial order and renewal. 
•  Presenting crescent-shaped butter beside enriched bread would have visually reinforced these themes in a subtle but intentional way.

A Bread Course? Not Quite

In Renaissance banquets, there wasn’t typically a formal “bread course”. Instead, bread might appear with appetizers, serve as a base under meat or sauces, or accompany dessert cheeses. But in elaborate feasts, trays of specialty breads and biscuits might be passed between courses or near the close of the meal. Our “Bread for the Table” course draws on that tradition—honoring bread’s place in every stage of dining while highlighting it as a crafted centerpiece, not just a carrier of flavor.

Historical Context

Messisbugo notes that “this bread is made more beautiful by making them round, twisted, or in buns.” The loaves could vary in size and form. In the 12th Night feast, we served these golden loaves as part of a “Bread for the Table” offering—something not necessarily a formal course, but reflective of Italian Renaissance customs where enriched or shaped breads played a decorative and practical role between savory and sweet courses.

Brazzatelle di Latte, e Zuccaro – Milk and Sugar Bagels (1557)

Brazzatelle di Latte, e Zuccaro – Milk and Sugar Bagels (1557)

Course: Bread for the Table

Feast: 12th Night 2024, Pan da Tavola, Made by Jennifer Bishop
Source: *Libro Novo* by Cristoforo di Messisbugo (1557)

These soft, slightly sweet breads were served at our Italian Renaissance feast as a morning-style bread, nestled between savory and sweet dishes. The original source calls them Brazzatelle—a term used in Italy for ring-shaped breads or cookies—and describes a process similar to making bagels, including boiling before baking. Enriched with milk, eggs, rosewater, and sugar, they may have been intended as a refined treat for a January banquet table.

A Renaissance Ring: The Story Behind Brazzatelle

Brazzatelle—also spelled brazzadelle, brazzadei, or brasadèle depending on region—were a type of ring-shaped bread popular across northern and central Italy from the medieval period through the Renaissance. The name likely stems from the Latin brachium (arm) or bracellus (bracelet), referencing their circular, bracelet-like shape.

These breads were often boiled before baking, giving them a glossy, firm exterior while preserving a soft interior. This technique, associated with extended shelf life, also made them ideal for festive or ritual uses. In Ferrara, Venice, and Bologna, brazzatelle were given as holiday gifts, blessed in churches during Easter, or included in wedding dowries.

Some were sweetened, like the version from Messisbugo’s Libro Novo (1557), while others were plain or flavored with anise seed. Their uses were diverse:

• Ritual breads for New Year’s, weddings, Easter, or religious processions
• Gifts or tokens of good fortune, especially when made in pairs or dozens
• Street or market fare—sold by licensed bakers, often under guild oversight

Are They Bagels?

While brazzatelle are not direct ancestors of the modern Ashkenazi bagel, they share several similarities:

• Ring shape and boiled-then-baked preparation
• Guild-regulated production and ceremonial use
• Flexible recipe base—ranging from peasant food to noble fare

It’s possible the boiling technique spread via cross-cultural contact. Jewish communities were established in Ferrara and other Italian cities by the 15th century, especially after the 1492 Spanish expulsion. Culinary exchanges between Jewish bakers and Italian guild traditions may have helped standardize boiled breads in both cultures [Gvion, 2004].

Sweet, Rich, and Refined

Messisbugo’s version reflects the courtly taste of the Este family in Ferrara: enriched with milk, eggs, sugar, butter, and rosewater, it would have been seen as a luxurious item. He suggests shaping them “as you like” and recommends adding anise seed, a common Renaissance spice prized for its digestive and humoral balancing properties [Albala, 2006].

In context, these may have been served with other banchetto items—spiced fruits, sugared nuts, or wine-soaked cakes—and consumed during the second or third course of a festive winter feast.

The original recipe yields 50 generous biscuits, each around 4 ounces. Our modern version scales down the ingredients, shapes the dough into braided twists or rings, and bakes them to golden perfection. While not as chewy as a modern New York bagel, these have a tender crumb and delicate flavor, perfect with jam, cheese, or on their own.

Original Recipe

📜 Ricetta Originale – Brazzatelle di latte, e zuccaro (1557)

Per far cinquanta brazzatelle di quattro oncie, si piglia quindeci libre di farina, tre oncie d’acqua rosa, tre libre di latte, e due di zuccaro bianco, venticinque ova, quattro oncie di butiro, et impastinsi bene insieme queste cose. Poi si faccino le dette brazzatelle secondo la maniera che si vuole fare, et si faccino lievitare con gran diligenza. Et lievitate che saranno, si faccia bollire acqua, et si gettino dentro le dette brazzatelle a cuocere, et quando saranno a galla, si cavino fuori, et si mettino in acqua fresca, et da poi si pongano a cuocere al forno. Et se si vorrà mettere dentro dell’anese, farà buona operazione.

— Messisbugo, Libro Novo, 1557

Translation note: The term brazzatelle refers to ring- or twist-shaped breads, often associated with ritual use. This recipe describes a luxurious enriched dough, boiled like a bagel, then baked—unusual for Renaissance Italy and suggesting a festive or banquet setting.

To make fifty biscuits of four ounces each, take fifteen pounds of flour, three ounces of rose water, three pounds of milk, and two pounds of white sugar, 25 eggs, four ounces of butter, and knead these together well. Then shape your biscuits in the manner you like, and let them rise with great diligence. When risen, boil water and throw in the biscuits to cook. When they float, remove and place in fresh water. Then bake them on the fire. If you want to add anise, that would work well.
– Messisbugo, *Libro Novo* (1557)

Uva in Salamoia – Pickled Grapes for a Renaissance Antipasto

 

Uva in Salamoia – Renaissance Pickled Grapes

🥕 Gluten-free, vegetarian (vegan if sugar is bone-char free)

Pickled grapes ready to be served

In Renaissance kitchens, grapes were often served fresh, described by color (white or black), and used for sweet or savory contrast. This recipe, though not found in Scappi or Domenico Romoli directly, draws on 17th-century English and Italian preservation methods to create a sweet-sour pickled grape that pairs beautifully with rich dishes like crostata, cheese, or roasted meats.