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.

Insalata di Cicoria Bianca – Renaissance Chicory Salad with Raisins & Shallots

Insalata di Cicorea Bianca, Scalognetti Freschi – White chicory salad with fresh shallots and raisins
— From the 16th‑c. Prince of Transylvania’s Court Cookbook

Insalata di Cicoria Bianca – chicory salad served at Baronial 12th Night Feast

This vibrant bitter-sweet salad was served during the Secundo Servito – Antipasti di cucina course of the Baronial 12th Night 2024 Feast. Inspired by a 16th-century Hungarian court manuscript known as the Prince of Transylvania’s Court Cookbook, it reflects a moment when Italian culinary sophistication influenced kitchens far beyond the Alps. The recipe calls out the Italians by name — praising their simplicity while offering a Hungarian twist.

This recipe comes from the Prince of Transylvania’s Court Cookbook (mid-16th c.), preserved in Hungarian sources and available via MedievalCookery.com. It reflects Hungary’s cosmopolitan court culture under rulers like Gabriel Bethlen, where Italian culinary practices were deeply admired and adapted  

Historical Background: A Transylvanian Culinary Lens

The Prince of Transylvania’s Court Cookbook was compiled in a culturally rich period when Transylvania — then a principality of the Kingdom of Hungary — absorbed diverse culinary influences from Italy, the Ottoman Empire, and the German-speaking world. Courts under princes like Gabriel Bethlen and György Rákóczi I cultivated both humanist learning and refined dining. Italian food was especially admired, and references in the manuscript highlight its prestige.

🌍 Cross-Cultural Influences in the Transylvanian Court Kitchen

The Prince of Transylvania’s Court Cookbook reflects a sophisticated fusion of culinary traditions. While Italian cuisine is explicitly referenced, the manuscript shows clear signs of diverse influence:

• Ottoman Cuisine: Spiced meats, rice, pickled fruits, and sweet-sour pairings suggest Turkish and Persian inspiration.
• Germanic Traditions: Dumplings, pork fat, and bread-based dishes echo Saxon and Bohemian styles from Habsburg lands.
• Slavic Elements: Fermented dairy, allium-rich dressings, and foraged greens reflect broader East-Central European customs.
• Possible Armenian or Jewish Touches: Sweet-savory sauces with dried fruit and nuts hint at urban Levantine or Sephardic culinary habits.

This layered culinary identity was typical of 16th-century Transylvania, a crossroads of empires and trade. Recipes like this salad — which pairs Italian simplicity with Hungarian technique — exemplify that blending.

“The Italians do it like so: they slice [the chicory] into a pot or a plate, add salt and black pepper, then eat it. We Hungarian chef masters soak this, too.” — Prince of Transylvania’s Court Cookbook

Renaissance Salad Styles

🌿 Renaissance Salad Styles

In Renaissance cookery, the concept of a salad went far beyond leafy greens. Derived from the Latin salata (meaning “salted things”), salads included raw or blanched vegetables, fresh herbs, cooked greens, and even warm dishes — all united by the presence of oil, vinegar, or brine.

Salads during this period often reflected Galenic medical theory, which emphasized balancing the four humors through food. Certain greens were considered cooling and moist, while others were hot and dry — and preparation methods were used to correct imbalances.

• Simple Salads – Raw herbs or greens, lightly salted or drizzled with oil
• Soaked Salads – Bitter greens or roots soaked to soften their bite or draw out excess moisture
• Composed Salads – Layered or marinated salads with ingredients like dried fruit, onions, and vinegar
• Herbed Salads – Complex mixtures of aromatic herbs, flowers, and sometimes spices
• Cooked Salads – Blanched or sautéed greens such as lettuce or spinach, often served warm and dressed, considered more digestible per Galenic principles

This dish blends the soaked and composed styles, pairing the bitter, cooling properties of chicory with the warming sweetness of raisins and the sharpness of shallot, all softened in a steeped vinaigrette. The balance of humors and textures makes it both medically appropriate and gastronomically appealing for a Renaissance table.

Italian vs. Hungarian Approaches

The manuscript’s author explicitly compares methods: Italians salted and dressed their chicory simply, while Hungarian chefs preferred to soak it. This extra step likely softened its bitterness and made it more palatable for guests unused to raw greens. The use of shallots and raisins adds both flavor complexity and textural contrast, demonstrating the court’s elevated approach to even humble ingredients.

The Role of Salads in Feast Structure

In formal Renaissance banquets, salads were often part of the Credenza (pantry-style) or Antipasti di Cucina (kitchen-prepared) courses. Their placement early in the meal aligned with medical advice — balancing digestion and setting the stage for heavier fare. This salad, with its bitter greens, aromatic vegetables, and tangy dressing, served as a perfect counterpoint to bot of the crostata's and pickled grapes also offered in this service.

Salads for Peasants, Merchants, and Princes

Not all Renaissance salads were created equal. Across early modern Hungary, salad preparation and presentation reflected both social class and medical belief:

• Noble Courts: Chicory, fennel, and imported greens were paired with raisins, citrus, or aromatic vinegars. These salads were layered, often steeped, and served early in formal meals to stimulate digestion.
• Merchant Households: Seasonal greens like cabbage or wild sorrel were tossed with onions, vinegar, and local oils. They mirrored court recipes in form but not luxury.
• Peasant Tables: Raw herbs and greens — if eaten — were foraged or grown and often dressed only with salt or a splash of vinegar.  In some European regions, fermented dairy or whey may have been used as a simple dressing. In Hungarian folk cooking, foraged greens like sorrel, nettles or dandelions were mixed with sourmilk or tejföl (fermented cream). Although these practices are not codified in noble cookbooks, they are part of practical traditions that have been handed down via oral tradition.

Over time, noble recipes filtered downward, simplified by necessity but retained in memory. This salad's bittersweet profile — once elite — became a rustic staple in many regional cuisines.

Modern Interpretation – Serves 8

• 1 large radicchio or white chicory, thinly sliced
• 1 cup shredded red or white cabbage
• 1 fennel bulb, thinly sliced
• ½ shallot, thinly sliced
• ½ cup red raisins (or halved red grapes)

Dressing

• ½ cup raisins
• ½ shallot, minced
• 2 tbsp vinegar (balsamic or red wine)
• ¼ cup extra‑virgin olive oil
• Salt & pepper, to taste

1. Toss salad ingredients in a large bowl.
2. In a separate bowl, combine raisins, shallot, vinegar, salt and pepper. Whisk in olive oil and let steep.
3. Just before serving, drizzle dressing over the salad and serve immediately.

Humoral Properties of Chicory

Chicory (Cichorium intybus) was widely praised in Renaissance herbals and medical texts for its cooling and drying qualities. According to Galenic theory, it helped balance excess choler and bile, soothed the liver, and stimulated digestion. Bitter foods like chicory were often served at the beginning of a meal to “open the appetite.” When paired with vinegar, oil, and sweet elements like raisins, it formed a well-balanced and elegant dish.

Renaissance Salad Comparison by Region

Region	Salad Base	Dressings	Cultural Notes	Extant Recipes
Italian States	Chicory, endive, lettuce, fennel	Olive oil, vinegar, salt, herbs	Served early in meals for digestion; emphasized freshness and refinement	Lettuce - a cooked lettuce salad served with green sauce
Hungary (Nobility)	Chicory, fennel, radicchio, cabbage	Olive oil, vinegar, raisins, shallots	Adapted Italian forms; emphasized balance of bitter/sweet and humoral properties	White Chicory Salad (Modern Redaction)
England	Lettuce, spinach, herbs, flowers	Vinegar, oil, sugar, citrus juice	Often layered with nuts, dried fruit, and sweet-sour dressings; herbal and floral salads appeared in elite dining	Pepys To Make Buttered Wortes – Pepys 18
Germanic Lands	Cabbage, cress, herbs	Vinegar, lard, egg yolk	Hearty, rustic, influenced by monastic and beer culture	Salat – Aromatic Medieval Herb Salad
Ottoman Territories	Herbs, purslane, onions	Lemon juice, yogurt, oil, sumac	Rich sweet-sour profiles; integrated medicinal herbs	Purslane Salad – Medieval Recipes

🥕 Dietary Notes

• Vegetarian: ✔️
• Vegan: ✔️
• Gluten‑Free: ✔️
• Galenic balanced: Bitter greens offset by sweet fruit and sharp aromatics

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Historical References

• Prince of Transylvania’s Court Cookbook (mid‑16th c.): includes “Chicory salad… The Italians do it like so…” and a list of 1603 feast menus 
• Chicory in Galenic medicine: see John Gerard’s Herbal (1597), and Mattioli’s Commentarii (1544)
• Banquet structure and salad use in Renaissance Europe: Platina, Scappi, and Romoli

Crostata di funghi per un giorno in prestito - To prepare a crostata of mushrooms

Preparare una crostata di funghi per un giorno in prestito – To prepare a crostata of mushrooms for a day in Lent
— Domenico Romoli, La Singolare Dottrina, c. 1560

Translation Note: The phrase “in prestito” literally means “on loan” or “borrowed.” In Renaissance Italian culinary texts, it often referred to fast days — especially during Lent — when meat was forbidden and meals were offered in spiritual observance. A “giorno in prestito” was thus a day “loaned to God,” requiring dietary restraint but still calling for skilled, satisfying cookery.

Note: Scappi’s crostata method (likely recipes 221–222) typically included soft cheese and eggs. Though recipe 223 is titled “for a fast day,” it references that base without explicitly removing dairy, leading some modern interpretations (like this one) to keep the cheese. Historically, a true Lenten version would omit cheese and use dairy-free alternatives such as almond-based fillings.

In the heart of an Italian Renaissance kitchen, a crostata wasn’t just a pastry — it was a vehicle for showcasing the season’s best ingredients, shaped by time, place, and religious calendar. This particular recipe, Preparare una crostata di funghi per un giorno in prestito, comes from Domenico Romoli’s La Singolare Dottrina (mid-16th century) and was written specifically for a “day in Lent” — when meat and animal fats were forbidden, but richly savory dishes were still expected at noble tables.

🍄 What Mushrooms Did Renaissance Cooks Use?

The original recipe refers to morels and to "the mushroom that grows at the foot of chestnut trees and briar bushes," which was described as firm and orange-tinted. This likely refers to chanterelles or possibly Caesar’s mushrooms (Amanita caesarea), both highly prized in the Italian Renaissance for their flavor and availability in oak or chestnut woodlands.

Mushrooms were considered acceptable fare on Lenten days because they were "neither fish nor flesh" and grew from the earth like vegetables. However, because mushroom poisoning was a genuine concern, most cookery books urged boiling wild mushrooms before use—even if it dulled their flavor.

Modern Substitutions

If fresh morels or chanterelles are not available, a good blend of cremini, oyster, shiitake, or portobello mushrooms works well. Mixing mushroom varieties provides depth and richness that mimics wild foraged flavors. Dried morels or porcini reconstituted in warm water are also excellent for layering in that "woodland" taste.

Tip: Avoid standard white button mushrooms for this dish—they lack the earthiness that Renaissance cooks prized in their “funghi di bosco.”

Renaissance Herbs and Flavor Pairings

Herbs were not simply seasoning — they were medicinal, seasonal, and intentionally paired with ingredients based on their humoral qualities. Mushrooms were considered “cold and moist” in Galenic terms, so cooks balanced them with “warm and dry” herbs like parsley, thyme, marjoram, mint, or sage. In Lenten cookery, the brightness of lemon and the lift of fresh herbs helped transform otherwise heavy or plain components into elegant, aromatic fare.

Lent Across Renaissance Europe

Italian Renaissance kitchens handled Lenten restrictions with creativity and abundance. Meat and animal fats were forbidden, but olive oil, vegetables, herbs, and often fish or shellfish remained fair game. Dishes like this crostata show how satisfying “meatless” cuisine could be — rich in umami, layered with textures, and full of complexity.

Compared to northern regions like England or the Low Countries, where fasting meant salt fish, ale pottage, or butter-thickened gruel, Italian cooks had a Mediterranean bounty to draw from. Almond milk, pine nuts, mushrooms, and wild greens allowed even the most devout households to enjoy sumptuous meals — legally and liturgically.

What Does “Crostata” Mean?

The word crostata comes from the Italian root crosta, meaning “crust”, which itself derives from the Latin crusta, meaning “hard outer shell” or “rind.” Related terms in Latin include crustulum (a little cake or pastry — root of the word crustulum/crustule, used in medieval Latin cookery). 

By the 15th–16th centuries, crostata in Italy referred broadly to: 

• Open-faced baked tarts (savory or sweet), made with a pastry base and visible fillings 
• Savory pies (enclosed or partially enclosed) 
• In some regional or culinary contexts: toasted bread or “crusted” slices used as a base or vehicle for toppings — particularly in fast-day preparations 

This broader use was recognized by: 

• Romoli’s La Singolare Dottrina (mid-16th c.), where crostata is used interchangeably with “pan ghiotto” (gourmand bread) 
• Scappi’s Opera (1570), where crostate appear throughout menus as both rich tarts and layered bread dishes 

In both cases, the "crust" or "base" was essential — whether that meant baked pastry or well-toasted slices of bread, depending on ingredients, season, and occasion..

Both Domenico Romoli in his La Singolare Dottrina (mid-16th c.) and Bartolomeo Scappi in his monumental Opera dell’arte del cucinare (1570) include dozens of crostate — some encased in pastry, others built upon slices of bread or served open-faced in pans. For instance, Scappi describes crostate of vegetables, meat, cheese, or fish that are either baked in crusts or arranged on slices of toasted bread (Scappi, Book II, recipes 211–225).

In this recipe, the crostata is described as “pan ghiotto” — gourmand or luxurious bread — layered with savory toppings. The base is toasted or crusted bread, not pastry, aligning with Romoli's phrasing and period practice.  This usage parallels the French term “croûte” (as in en croûte), meaning food served on or enclsed in crusted bread or pastry.  All descend from the same Latin root - crusta - and highlight the central role of crust in both structure and flavor. 

While we might associate “crostata” today with sweet fruit tarts, its Renaissance meaning was far more versatile, often bridging the line between pastry and hearty antipasto.

It was served as part of the Second Service of Kitchen Antipasti (Secundo Servito – Antipasti di cucina) at the Baronial 12th Night 2024 feast, a transitional course featuring hot, savory appetizers. This crostata balances rustic simplicity with complex flavor: mushrooms sautéed with herbs and garlic, layered atop crisp bread and soft cheese. Its inspiration comes directly from the forest floor — a celebration of the humble mushroom elevated to banquet fare.

Preparare una crostata di funghi per un giorno in prestito – Mushroom Crostata for a Lenten Day

Courtesy of Jennifer Bishop | Baronial 12th Night 2024 – Secundo Servito, Antipasti di Cucina

This savory mushroom crostata was one of four composed appetizers served during the Second Service of Kitchen Antipasti (Secundo Servito – Antipasti di cucina) at the Baronial 12th Night 2024 Feast. The dish draws on Italian Renaissance sources like Domenico Romoli's La Singolare Dottrina, and is noted specifically as appropriate “per un giorno in prestito” – for a Lenten day. It’s vegetarian, full of woodland flavor, and easily adapted to suit modern dietary needs.

Feast Context

This antipasti course served as a flavorful bridge between cold pantry items and heavier meat dishes in a formal Italian Renaissance banquet. The mushroom crostata was served alongside:

• Per far crostate cioè pan ghiotto con barbaglia de porco, o presciutto – Gourmand bread with pork jowl or prosciutto – by Jennifer Bishop & Dan Parker
• Insalata di Cicorea Bianca – White chicory salad with raisins and shallots
• Uva in Salamoia – Pickled grapes

Plated antipasti course with crostate, salad, and pickled grapes – 12th Night 2024

Original Text

223. Get morels or else the mushroom that grows in the woods at the foot of chestnut trees and briar bushes, which is round and firm and tends toward an orange colour. The safest thing is to bring them to a boil in water, though they are much more flavorful raw. In any case, whether raw or cooked, peel them carefully, beat them small with a knife and saute them in oil. Then get those ingredients used in recipe 222, adding in beaten and sauteed spring onions or else a small clove of garlic. Make up a torte with them in the way outlined in the above recipe.

Modern Interpretation – Serves 8

Ingredients

• 1 12-inch baguette, sliced into ¾-inch diagonal slices
• Olive oil (for drizzling and sautéing)
• 1 lb mushrooms (cremini or wild, sliced)
• 2 green onions, thinly sliced
• 2 garlic cloves, thinly sliced
• 2 tbsp fresh lemon juice
• 1 tsp chopped fresh thyme
• 1 tbsp chopped fresh parsley
• ½ lb ricotta or other soft cheese
• Salt and black pepper to taste

Instructions

1. Toast baguette slices until golden. Drizzle with olive oil.
2. In a skillet, heat more olive oil and sauté mushrooms, green onions, and garlic until tender.
3. Stir in lemon juice, thyme, and parsley. Season with salt and pepper.
4. Spread ricotta onto each toast slice. Top with mushroom mixture.
5. Drizzle with additional olive oil. Cut each toast in half and serve warm.

Humoral Theory and Fasting Cuisine

Renaissance cooks operated under the framework of Galenic dietetics, which held that all foods had qualities — hot, cold, moist, dry — that affected the body’s balance of humors. Mushrooms were considered cold and moist, and thus could dampen digestion or cause melancholy if consumed without proper balance. To counteract this, recipes often paired them with warming, drying herbs like thyme, pepper, or mint, and used cooking methods like sautéing in oil to adjust their temperament. Even Lenten dishes like this crostata were not just about following rules — they were about preserving harmony in the body, especially during seasonal transitions and spiritual observances.

Notes and Substitutions

This is a rustic dish, originally made with wild mushrooms like morels or chestnut woodland varieties. The method is straightforward—chop, sauté, and season well. The addition of ricotta is a nod to Renaissance *torte* fillings, even though the Lenten version may have omitted it. 

Dietary Suggestions:

• Vegetarian: ✔️
• Vegan Option: Substitute vegan ricotta or herbed cashew cheese
• Gluten-Free Option: Use gluten-free toast or polenta rounds

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Serving Suggestions

While Renaissance cooks didn’t serve crostate with “sides” as we think of them today, dishes like this were part of a richly varied course of hot antipasti. To replicate the experience, consider pairing with:

• Insalata di cicorea – bitter chicory greens with raisins and shallots
• Uva in salamoia – pickled grapes to offset the fat and salt
• Another crostata, such as mushrooms in pastry for variety
• Soft cheese with herbs or small fried cheese fritters
• Savory eggs or bite-sized sausages
• Fried bread with sugar and cinnamon as a bridging flavor

This crostata is best served hot, but does well at room temperature. Ideally it would be served as part of a shared platter or buffet-style second service of antipasti di cucina.

🍽️ Explore the Full Antipasti Course

• Gourmand Bread with Pork Jowl or Prosciutto
• White Chicory Salad with Raisins and Shallots
• Pickled Grapes

📘 Historical References

• Domenico Romoli, La Singolare Dottrina (Venice, 1560s) – Culinary guide for household stewards. Referenced crostata of mushrooms and "pan ghiotto".
• Bartolomeo Scappi, Opera dell’arte del cucinare (1570) – Comprehensive Renaissance cookbook. See: Book II (Crostate Recipes).
• 
  

Pan Ghiotto con Barbaglia – Scappi’s Renaissance Crostate with Pork Jowl or Prosciutto (1570)

Secundo Servito – Antipasti di Cucina (Second Service of Kitchen Appetizers)

Crostate di barbaglia, crostata di funghi, insalata di cicorea, and uva in salamoia — prepped and ready for service at 12th Night.

In the structure of a formal Italian Renaissance feast, the second course was not necessarily the heaviest—it was often a bridge between light pantry offerings and more substantial meat dishes. This Secundo Servito, or Second Service, featured Antipasti di Cucina: hot or composed savory appetizers prepared fresh from the kitchen, in contrast to the simpler cold antipasti di credenza served earlier.

These warm antipasti were designed to stimulate the appetite and prepare the body for digestion according to Galenic principles—the humoral theory that governed much of Renaissance cooking. Dishes often balanced sweet and sour flavors, incorporated herbs for digestive support, and reused day-old bread or preserved meats to show both economy and elegance.

Our 12th Night Second Service of Antipasti took inspiration directly from Bartolomeo Scappi’s 1570 masterpiece Opera dell’arte del cucinare. This course was curated and prepared by Jennifer Bishop, with generous contributions from Dan Parker, who substituted his homemade bacon in place of prosciutto with delicious results.

Served in the Second Antipasti Course:

• Per far crostate cioè pan ghiotto con barbaglia de porco, o presciutto – “To prepare crostate—that is, gourmand bread—with salted pork jowl or prosciutto”
  Courtesy of Jennifer Bishop & Dan Parker
• Preparare una crostata di funghi per un giorno in prestito – “To prepare a crostata of mushrooms (for a fast day)”
  Courtesy of Jennifer Bishop
• Insalata di Cicorea Bianca – White chicory salad with raisins and shallots
• Uva in Salamoia – Pickled grapes

Each dish reflects Renaissance preferences for layered flavors and textures—toasted bread with rich toppings, sharp greens softened with sweet fruit, and preserved grapes offering a tart palate cleanser. The mushroom tart, notably, is drawn from Scappi’s frequent practice of offering giorni di magro (fast day) variants for religious observance.

Did You Know? Scappi’s antipasti courses regularly included both meat and vegetable preparations, showcasing not just opulence but also culinary mindfulness—adapting to dietary restrictions and balancing the humors.

🍞 Crostate – Gourmand Bread with Pork Jowl or Prosciutto

Course: Second Service – Antipasti di Cucina
Source: Bartolomeo Scappi, Opera dell’arte del cucinare (1570)
Modern Redaction: Jennifer Bishop (with homemade bacon courtesy of Dan Parker!)
Serves: 16
Tags: Renaissance, Appetizer, Pork, SCA Feast

📜 The Original and Modern Translation

Scappi’s Original (1570)

Friggasi [le fette di pane] in butiro, overo in lardo liquefatto, et habbiasi barbaglia di porco tagliata in fette, overo presciutto, et soffrigganosi nella padella con cipollette battute, et cime di salvia, et come saranno soffritte, pongasi in esse un poco di aceto, et mosto cotto, over zuccaro, et pepe, et cannella, dandovi una calda, et habbianosi apparecchiate le fette del pane nel piatto bagnate con un poco di grasso caldo, et pongansi sopra la barbaglia o il presciutto, con l’altre materie, et servansi calda.

Modern Translation

Fry the bread in butter or melted lard. Slice the pork jowl or prosciutto and sauté in a pan with spring onions and sage tips. When done, add a little vinegar, reduced must or sugar, pepper and cinnamon; heat well. Arrange the toasted, greased bread slices on a platter, top with the jowl or prosciutto and the sauce, and serve hot.

🥄 Modern Recipe (Serves 16)

Ingredients

• 1 12-inch baguette—sliced into 3/4-inch slices on a diagonal
• 8 thin slices prosciutto (or homemade bacon), halved
• 1 leek or spring onion, thinly sliced
• 1 tsp dried or fresh minced sage
• 1/4 tsp black pepper
• Pinch of cinnamon
• 1 tsp sugar
• 2 tbsp water
• 2 tbsp mosto cotto (grape must syrup)
• Extra-virgin olive oil or melted lard for frying

Instructions

1. Toast the baguette slices in a skillet with olive oil or lard until golden and crisp. Set aside.
2. Sauté the prosciutto or bacon with the sliced leek and sage until lightly browned.
3. Add vinegar, sugar, water, mosto cotto, pepper, and cinnamon. Simmer until the liquid thickens slightly into a sauce.
4. Arrange toasted bread slices on a serving platter. Spoon the meat mixture and sauce over each slice. Serve warm.

🍇 Bonus Recipe: Mosto Cotto (Grape Must Syrup)

Yield: About 1 small jar

• 4 pounds fresh grapes (any dark variety)

1. Wash grapes and remove them from the stems. Crush to extract juice (use a food mill, juicer, or your hands).
2. Strain juice through a fine mesh sieve or muslin to remove skins and seeds.
3. Pour the juice into a heavy-bottomed pot and simmer gently until reduced by one-third.
4. The syrup should be thick and coat a spoon. It will continue to thicken as it cools.
5. Pour into sterilized jars. Some age it up to 24 months, but it's ready to use once cooled.

🍽️ Dietary & Service Notes

• Contains: Gluten, Pork, Alliums
• Vegetarian Version: Omit the pork and replace with sautéed mushrooms and walnuts (for feast day adaptation)
• Feast Service: Best served warm on platters, pre-assembled and sauced
• Labels: Antipasti, Appetizer, Renaissance, Pork

Pizza di Molti Strati – A Renaissance Baklava-Style Pastry with Elderflower & Rosewater

Despite the familiar name, this 16th-century “pizza” from Scappi bears no resemblance to modern flatbreads. Instead, it’s a delicate multi-layered pastry, brushed with butter, dusted with sugar and elderflower, and bathed in rosewater syrup. It’s likely a descendant of early Middle Eastern “baklava”‑style desserts—transmitted along Silk Road routes and adopted by Italian Renaissance cooks.

Historical Background

The tradition of layered pastry desserts originates in Middle Eastern and Byzantine cuisines. A 13th-century Arabic confection called lauzinaj—almond paste wrapped in ultra-thin dough and drenched in syrup—was an early ancestor to European versions. Phyllo dough itself traces back to Ancient Greek and Ottoman pastry techniques.

By the 16th century, Italian cooks like Scappi adapted the concept into a simplified “cold layered pizza,” blending Western sugars, elderflower, and rosewater into a visually striking—yet humble—pastry.

A Historical Journey Through Layered Pastry

This “pizza di molti strati” connects to a rich, layered history of syrup-drenched pastry desserts—evolving from Greco-Roman flat cakes to Byzantine, Arabic, and Ottoman specialties, finally taking elegant form in Renaissance Italy.

• Greco-Roman plakous & placenta – Layered pastries with dough, cheese, and honey. Cato the Elder’s placenta cake describes alternating layers of dough and cheese, baked and sweetened with honey.
• Byzantine koptoplakous – A nut-filled, syrup-drenched cake from Constantinople, widely regarded as an early form of baklava. Cited in culinary studies on Byzantine dessert culture.
• Arabic lauzinaj – Medieval almond paste pastries wrapped in thin dough and scented with rosewater. See: Scents and Flavors – Early Baklava Recipe.
• Ottoman Baklava & Phyllo Mastery – Ottoman chefs refined paper-thin dough layering in imperial kitchens. Syrups, nuts, and floral waters became standard. See Baklava – Wikipedia.
• Italian Renaissance Adaptation – Scappi’s 1570 *pizza di molti strati* replaces nuts with elderflower, and introduces a cold-serving presentation. It reflects Italy’s interpretation of a global dessert tradition.
  🍽️ What’s in a Name? A Slice of Pizza’s Etymology
  
  The word pizza may conjure images of tomato sauce and cheese—but its linguistic roots tell a far older story. The earliest known use dates to 997 CE in a Latin document from Gaeta, Italy, referring to a simple “focaccia”-style bread. But where the term *actually* comes from remains debated:

  • Ancient Greek pikte ("fermented pastry") or pitta ("flatbread")
  • Latin pinsa (from pinsere, “to press or flatten”)
  • Old High German bizzo or pizzo (“a bite” or “mouthful”)
  • Italian pizzicare (“to pluck” quickly from the oven)
  • Even Aramaic pita, referring to flatbread

  Linguists and food historians—like Jim Chevallier—have explored these etymologies in depth. In Scappi’s 1570 *Opera*, “pizza” still referred to a layered or folded pastry, not the tomato-covered dish we know today.
  
  Source: Linguistic and historical research courtesy of Jim Chevallier. For more, see discussions on Facebook and works on bread and early pizza history.

Original Recipe (Scappi, 1570)

“Per fare la pizza di molti strati, comunemente freddi pasta secca a strati: pigli uno foglio di pasta tirata sottile... tra ciascuno spargi burro, zucchero, ed erbe di sambuco... e quando è cotta servi fredda con zucchero e acqua di rose.”
—Bartolomeo Scappi, Opera dell’arte del cucinare (1570)

Modern English Translation

“To make a pizza of many layers, commonly served cold: take a sheet of pasta rolled out thin... between each one sprinkle butter, sugar, and elder flowers... and when it is cooked, serve cold with sugar and rosewater.”

Renaissance Kitchen Imagery

Woodcut from Scappi’s Opera (1570), showing layered pastry prep and kitchen tools.

“Pizza di Molti Strati” Recipe (Scappi, 1570)

Ingredients

• ½ pack filo (phyllo) dough (homemade if time allows)
• ¼ lb butter, melted
• 1 cup sugar
• 2 Tbsp dried elderflower
• Rosewater, to drizzle

Method

1. Preheat oven to 400 °F (or follow filo package instructions).
2. Keep melted butter warm. Lay one sheet of filo in a greased tart pan.
3. Brush with butter, dust with sugar & elderflower. Layer three sheets, then repeat until 12 sheets are used, finishing with sugar & elderflower.
4. Slice into triangles. Bake until golden brown.
5. Let cool, then serve cold with a drizzle of rosewater.

If serving a small group, homemade phyllo is highly recommended—it adds freshness and flavor.

🌸 Floral Flourishes:
Elderflower and rosewater were prized in Renaissance kitchens for their fragrance and humoral balance. In this pastry, they elevate simple layers into something aromatic, symbolic, and beautiful.

Trays of Pizza di Molti Strati and Mele Cotogne stufate con pignoli, acqua rosa, e zuccaro — quince stewed with pine nuts, rosewater, and sugar — ready for service at Flaming Gryphon 12th Night, 2024.

Want to make this for your next feast? Try homemade filo—it’s elegant, surprisingly satisfying, and perfect with a cup of warm spiced tea.

Primary Source Access

• Scappi’s Opera dell’arte del cucinare (1570) – Archive.org
• Full Italian Text on Google Books (1570 Edition)

Tortelletti d’herba alla Lombarda - Herb tortellini in the Lombard Style - Scappi

Tortelletti d’herba alla Lombarda

Herb-Filled Pasta in the Lombard Style — Scappi’s Comforting Winter Classic

This delicate and fragrant dish of tortellini stuffed with sautéed greens, herbs, cheese, and sweet spices originates from Opera dell’Arte del Cucinare (1570), the monumental cookbook by Bartolomeo Scappi. Best known as the personal chef to Pope Pius V, Scappi was a master of both elaborate banquets and refined simplicity — and this recipe, nestled in Chapter 179 of his Secondo Libro, showcases the Lombard love of herbs, butter, and subtly sweet notes.

Scappi and the Rise of Pasta in the Renaissance Kitchen

Bartolomeo Scappi’s Opera (1570) offers one of the most complete windows into the elite cuisine of late Renaissance Italy — and pasta plays a surprisingly prominent role. While modern perceptions associate early Italian cuisine with bread and stews, Scappi details dozens of pasta forms: tortelletti, tagliatelle, lasagne, gnocchi, and more. He provides both fast-day (Lenten) and meat-day variations, often using rich fillings, egg-based doughs, and flavored broths.

Beyond Pasta: Scappi’s Influence on Italian Cuisine

While Scappi is celebrated for cataloging pasta, his legacy goes well beyond noodles. He formalized kitchen hierarchy, seasonal menu planning, and equipment standards that echoed into the 18th century and beyond. His work documents early uses of parchment paper for baking, cooking with a bain-marie, and even proto-refrigeration techniques using snow. He preserved the culinary knowledge of late medieval traditions while also introducing innovations that bridged the gap to modernity. Scappi’s recipes emphasized not only taste but also visual elegance, hygiene, and timing — principles that continue to shape Italian fine dining today.

His chapter on pasta (including Cap. 177–179) reflects the growing popularity of filled pasta in elite households — a sign of culinary sophistication. Doughs were often perfumed with rose water or sugar, and pasta was sometimes served in sweetened broths or dusted with sugar and cinnamon. These dishes bridged the gap between savory and sweet, medicine and indulgence, humble vegetables, and luxurious presentation.

In the Spirit of Romoli: Doctrine and Daily Table

Domenico Romoli’s La Singolare Dottrina (“The Singular Doctrine”) outlines not only how to cook but also how to organize and serve elaborate banquets across the seasons. His January banquet — which inspired this feast — features carefully curated combinations of hot and cold, dry and moist, light and heavy, always with an eye toward harmony and digestion. Pasta dishes like tortelletti fit perfectly into this philosophy: gentle on the stomach, warming in the winter months, and suitable for both Lenten and meatless preparations, depending on the broth and sauce.

Romoli, like Scappi, reflects the culinary doctrine of the sixteenth-century Italian elite, where food was viewed as an art, a science, and a means to health, all served in silver.

The Lombard Legacy: Herbs, Pasta, and Humoral Balance

Lombardy, located in northern Italy, was renowned throughout the Renaissance for its refined cuisine and affinity for dairy, herbs, and egg-rich dishes. Dishes like tortelletti d’herba reflect the region’s agricultural abundance and the influence of monastic gardens and courtly kitchens. These small-filled portions of pasta, cousins to ravioli and agnolotti, were considered both elegant and nourishing — ideal for feast days or Lenten fare when meat might be restricted, but the richness was not.

The inclusion of sweet spices like cinnamon and cloves, along with sugar and currants, reveals a broader Renaissance fascination with balancing flavors and creating contrasts on the palate — often underpinned by humoral theory. Warm spices helped balance the “cold” qualities of greens, while cheese and egg yolks added “moist” richness. In this way, tortelletti d’herba were more than delicious — they were medicinally appropriate.

Did You Know?
Common greens used in Renaissance kitchens included bietole (Swiss chard or beet tops), spinaci (spinach), and cavolo nero. Herbs like parsley, mint, marjoram, and savory were prized not just for flavor but for their role in digestive and humoral health.

What Herbs and Greens Were Used in Renaissance Tortelletti?

The phrase herba alla Lombarda in Scappi's recipe refers to a familiar blend of leafy greens and aromatic herbs popular in northern Italy during the Renaissance. Common greens included bietole (chard or beet greens), spinaci (spinach), and sometimes cavolo nero (black cabbage). These were often combined with soft herbs like parsley, marjoram, mint, and savory — herbs prized for their digestive and warming properties, aligning with humoral dietary practices of the time. Regional cooks might adjust the balance of herbs depending on season and occasion: more mint and marjoram in summer, more parsley and chard in winter.

We featured this dish as part of the Arrosto course at our 12th Night 2024 feast, where it was served alongside roast beef, sweet mustard sauce, Turkish squash, and jewel-like Renaissance jelly bites. Helewyse de Birkestad adapted the recipe used in her event, Feste di San Martino, and offers a beautifully balanced winter pasta that pairs greens with Parmesan, currants, and spices.

🦚 Curious about the full feast?
Explore the complete menu from the Flaming Gryphon 12th Night Feast 2024 to see all the dishes and historical inspirations behind this event.

Historical Recipe: Per far minestra di tortelletti d’herba alla Lombarda

Scappi, Opera (1570), Cap. CLXXIX, Secondo Libro

Take beet (chard) and spinach, chop very finely, wash in several waters, and wring dry. Fry them gently in fresh butter, and add a handful of odiferous herbs. Boil briefly, then drain and combine the mixture in a glazed earthen or tinned copper pot. Add grated Parmesan and soft cheese, with pepper, cinnamon, cloves, saffron, currants, and enough raw egg to bind. If too soft, add breadcrumbs; if too firm, more butter. Make pasta as described in Chapter 177, shape small or large tortelletti, boil in meat broth, and serve with cheese, sugar, and cinnamon on top.

Modern Redaction (Adapted by Helewyse de Birkestad)

Pasta Dough

• 4 cups all-purpose flour
• Pinch of salt
• 1 tbsp butter, melted
• 1 tbsp sugar
• 1 tbsp rosewater
• ~1¼ cups warm water (as needed)

Filling

• 1 bunch Swiss chard
• 1 bunch spinach
• Small handful each: parsley, mint, marjoram
• 15 oz ricotta
• 6 oz Parmesan (grated)
• 1–2 eggs
• 1 oz currants
• Salt, pepper, cinnamon, cloves, and saffron to taste

Instructions

1. Make the Dough: Combine flour, salt, sugar, melted butter, and rosewater. Mix with warm water to form a smooth dough. Knead well, then rest covered for 30 minutes.
2. Prepare the Filling: Wash and chop the greens and herbs. Sauté in butter until wilted. Let cool, then pulse in a food processor with cheeses, eggs, spices, and currants until a firm but scoopable filling forms.
3. Shape the Tortelletti: Roll pasta thin (second-to-last setting on a hand-cranked machine). Cut into squares or circles. Place small scoops of filling, fold and seal. Shape into tortelletti.
4. Cook: Boil in salted water (or broth) until they float — about 5 minutes. Drain and serve hot.
5. To Serve: Top with a light dusting of grated cheese, cinnamon, and sugar for an authentic Renaissance finish.

Regional Variations Across Italy

Though Scappi’s version is firmly rooted in Lombardy, filled herb pastas appear across Italy with regional twists. In Emilia‑Romagna, tortelli di erbette are filled with greens and ricotta, often served with sage‑butter. Tuscany offers tortelli maremmani, sometimes incorporating wild greens and nutmeg. Liguria features pansoti made with preboggion (a traditional wild herb mix) and walnut sauce. Each variant celebrates local herbs and fillings while preserving the form’s essential comfort and seasonality.

Notes from the Feast Table

At 12th Night 2024, these tortelletti were part of the Arrosto course with:

• Spit-roasted beef (brisket)
• Turkish squash dishes
• Sweet mustard sauce
• Gelo in bocconcini di più colori (jelly in small bites)

Want More from This Feast?

This recipe is just one part of our 12th Night 2024 Renaissance Feast, inspired by Scappi, Romoli, and the lavish January banquets of Renaissance Italy.

To see the full event menu and explore additional recipes as they’re released, visit the official feast page:

Flaming Gryphon 12th Night 2024 Feast Menu.

Looking for printable cards or a bundled feast pack? Support the project on Ko-fi and stay tuned for downloads!

What’s New at Give It Forth – June 2025 Update

 

Hello friends and fellow food historians!

There’s a lot simmering in the Give It Forth kitchen these days, and I wanted to take a moment to share a few exciting updates, improvements, and sneak peeks of what’s cooking.

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🧭 Improved Navigation

We’ve overhauled the site navigation to make it easier to browse recipes, feast planning resources, and historical FAQs. Look for the new sidebar Pages menu, where you’ll find links to:

• Frequently Asked Questions

• Ounce to Tablespoon Conversion Guide

• Comfits and Historical Confections

• ...and more coming soon!

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🔧 Link Updates & SEO Fixes

We’ve been busy hunting down outdated links, broken redirects, and dusty corners of the blog. Many posts are now refreshed with working links, better indexing, and improved discoverability (because even medieval mustard deserves the spotlight).

If you’ve ever stumbled across a 404 or an archived page — don’t worry, we’re on it.

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💬 New FAQ Resources

The brand-new FAQ Page is live and loaded with answers to your most common questions:

• Cooking conversions (dry vs liquid)

• How to plan a medieval feast

• What’s a dayboard?

• Where I get my sources

• And yes... how to make comfits without losing your mind!

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🍴 Coming Soon on the Blog

Keep your eyes peeled — these historical recipes are headed your way in the next few weeks:

• Gelo in bocconcini di piu colori
  Jelly in small bites, of many colors – from Bartolomeo Scappi

• Tortelletti d’herba alla Lombarda
  Herb tortellini in the Lombard style – Scappi again!

• Per far diverse minestre di zucche Turchesche
  A variety of Turkish squash dishes (Cap CCXX, Secondo libro, Scappi)

• Salsa di Mostardo amabile
  Sweet mustard sauce – perfect for meats, roots, and the curious palate

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💡 Support the Project

If you’ve found joy, ideas, or research help here, consider supporting Give It Forth on Ko-fi:
☕ https://ko-fi.com/giveitforth

Thank you for being part of this delicious journey through the past. Stay tuned — and stay hungry!

Yours in herbs and humors,

Yonnie

Italian (Medieval) – Small Plates of Chestnuts in Embers (Domenico Romoli) (Piattelletti di maroni in bragia)

 

Something Sweet and Savory — Piattelletti di Maroni in Bragia

Craving a taste of the Renaissance? Here's your ticket— piattelletti di maroni in bragia, or ember-roasted chestnuts, a Renaissance favorite brought to life using ancient cooking techniques for nuts preserved in historic manuscripts.. All it takes is a crackling fire, a bed of embers, and a dusting of sugar and salt. Simple, rustic, and surprisingly delicious.

Piattelletti di Maroni in Bragia, which charmingly translates to “little chestnut cakes in the embers,” comes from La Singolare Dottrina, penned in 1560 by Domenico Romoli—better known as Panunto. Don’t let the name fool you—it’s not a cake in the modern sense, but rather whole chestnuts nestled in hot ash or coals. And when finished with sugar, salt, and a hit of pepper? Absolute magic. You’ll be asking yourself how something so basic can taste so good.

A decade later, Bartolomeo Scappi featured a similar technique in his masterpiece Opera dell'arte del cucinare (1570)—a true treasure chest of culinary brilliance. Like Romoli, he was all about the ember-roasted chestnuts, but with an extra nudge of seasoning. Both men clearly understood that chestnuts, with just a little fire and flair, could steal the show.

Chestnuts were a staple in Italian kitchens during the 15th and 16th centuries, prized not just for their flavor but also for their versatility. Dishes ranged from sweet to savory, and cooks like Scappi and Romoli perfected techniques still worth learning today.

Romoli (1560) wrote of cooking chestnuts in embers to bring out their natural sweetness, while Scappi detailed "piattelletti", or small chestnut cakes, roasted or cooked directly in ashes or coals. These weren’t just rustic peasant fare—they were refined enough for noble tables during feast days and holidays.

“Maroni si cuociono nel bragia, et servano caldi sopra tovagliuoli bianchi.”
(Romoli, 1560)
“Chestnuts are cooked in embers and served warm on white linens.”

One of the many menu's featuring Chestnuts in Embers from La Singolare Dottrina

So, to keep this delicious bit of smoky history alive, I’ve got two ways you can make them: one straight out of the 16th century, and one fit for a modern stovetop. Fingers crossed I keep the ash to a minimum!

Historic Version: Piattelletti di Maroni in Bragia

Ingredients:

• Fresh chestnuts

• Embers or ash

• Sugar

• Salt

• Pepper

Method:

1. Slice an X into the flat side of each chestnut. It’ll stop them from bursting and make peeling a lot easier.

2. Nestle them gently into warm embers—no direct flames, just cozy heat from the coals.

3. Let them roast 20–30 minutes, giving them a stir now and then for even cooking.

4. Pull them out and cool slightly. They're best peeled while still warm.

5. Sprinkle with sugar, salt, and cracked pepper while they’re still toasty.

That’s it. A smoky-sweet snack with just the right amount of warmth and rustic charm. It's a little time travel on a plate.

Modern Kitchen Version: Oven-Roasted Chestnuts with Sugar, Salt & Pepper

Ingredients:

• 1 lb fresh chestnuts

• 1 tbsp sugar

• 1/2 tsp kosher salt

• 1/4 tsp fresh black pepper

• Optional: a drizzle of olive oil or melted butter

Method:

1. Heat your oven to 425°F (220°C).

2. Score each chestnut with an X on the flat side.

3. Roast on a baking sheet for 20–25 minutes, until the shells curl back at the X.

4. Let them cool enough to handle, then peel.

5. Toss warm chestnuts with sugar, salt, pepper—and maybe a little butter or oil, if you’re feeling fancy.

Serve them warm, maybe with a glass of wine or cider. They’re just as welcome on a winter snack board as they are straight from the oven.

A Bit More on the Origins

Romoli’s La Singolare Dottrina was more than a cookbook—it was a guide for noble households, covering everything from seasonal menus to food and health advice. Scappi’s Opera, written just ten years later, was the work of a papal chef—six volumes packed with over a thousand recipes and drawings. Where Romoli wrote with a steward’s insight, Scappi brought the precision and flair of a true culinary artist.

Together, they remind us how humble ingredients—like the chestnut—can become something extraordinary with a bit of care and creativity.

Final Thoughts: A Flavor Worth Reviving

Piattelletti di maroni in bragia reminds us that even the simplest ingredients—chestnuts and embers—can create something beautiful and deeply nostalgic. Whether you're drawn to historic Italian chestnut recipes or simply crave traditional chestnut recipes for fall, this ancient treat deserves a comeback.

Would I make these again? Absolutely. There's something so satisfying about cracking into a warm, roasted chestnut and tasting that perfect sweet-savory balance. So next time you see chestnuts at the market, take the leap—you might just discover your new favorite fall treat.

If you love diving into the past like I do, I highly recommend exploring these Renaissance cookbooks:

• 📖 Scappi’s Opera (1570) – full digitized version on archive.org

• 📖 Romoli’s La Singolar Dottrina (1560) – archived scans and translations

These works offer a window into a time when cooking was equal parts sustenance and spectacle.

Sources: 

La Singolare Dottrina di M. Domenico romoli Sopranominato Panonto dell’ufficio delle Scalco (no date) Google Books. Available at: https://www.google.com/books/edition/La_Singolare_Dottrina_di_M_Domenico_Romo/AiY6AAAAcAAJ?hl=en&gbpv=1&bsq=Piattelletti+di+maroni+in+bragia+ (Accessed: 11 April 2025).

The opera of Bartolomeo Scappi (1570) (no date) Google Books. Available at: https://books.google.com/books?id=oF2jsqrWtEkC&printsec=frontcover#v=onepage&q&f=false (Accessed: 11 April 2025).

🦚 Curious about the full feast?
Explore the complete menu from the Flaming Gryphon 12th Night Feast 2024 to see all the dishes and historical inspirations behind this event.