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Showing posts with label Renaissance. Show all posts
Showing posts with label Renaissance. Show all posts

From Sauce to Aspic: The 500-Year Journey of Galentyne → Galantine

From Sauce to Aspic – The 500-Year Journey of Galentyne → Galantine


From hot medieval sauce to elegant cold aspic — the shifting identity of galentyne/galantine.

What’s in a name? Few dishes illustrate the transformations of European cuisine as vividly as galentyne. In the 14th century, it meant a spiced, bread-thickened sauce for meats or fish. By the 19th century, galantine had become a boned, stuffed, aspic-set cold dish — a centerpiece of French haute cuisine. Here we trace that remarkable journey across 500 years, with original recipes and modern adaptations.


Medieval Origins (14th–15th c.)

Harleian MS. 279 (England, c.1430): Fyletes in Galentyne is one of the best known. Pork is roasted, cut up, and stewed with onions, pepper, ginger, bread, and vinegar, finished with blood or sanders for color.

“Take fayre porke of the fore quarter, and rost hit tyl hit be almost ynogh; … and colour hit with blode, or elles with sandres, and then lat hit boyle up wel, and serve it forth.”

See the full recipe in our updated Fyletes in Galentyne post.

Entremets — The Forgotten Medieval Course

Entremets — The Forgotten Medieval Course Between Pottage and Roast
Paolo Veronese, The Feast in the House of Levi (1573), Gallerie dell'Accademia, Venice. Public domain via Wikimedia Commons.

Updated: 2025-09-11 · Labels: Entremet · Feast Planning · Historical Cooking · Medieval · Renaissance

Modern feast menus often jump from a pottage or soup straight to roasts. Historically, diners expected something between. The entremet (Old French: “between-dish”) served as a bridge between heavy services, offering refreshment, surprise, and sometimes outright spectacle. This post explains the term’s origins, how it functioned, where it went, and practical ways to revive it in today’s feasts.

Etymology & Early References

Entremet derives from Old French (entre + mettre/mettre “to place/send in between”), literally a dish interposed between services. The concept appears prominently in 14th‑century French sources such as Le Viandier and later in Le Ménagier de Paris; in English material (e.g., Harleian MS. 279, c.1430) you find dishes that likely filled the same role, even when not labeled “entremet.”

Function of the Entremet

  • Pacing & Palate Reset: a light interlude after dense pottages or fish and before the roasts.
  • Spectacle & Surprise: color shifts, unusual textures, disguised forms, molded shapes.
  • Status & Seasonality: ingredients like saffron, sugar, almonds signal wealth and trade access; colors and motifs reflect seasonal/religious themes.

Entremet vs. Soteltie (Subtlety)

AspectEntremetSoteltie / Subtlety
Purpose Culinary surprise between services; light refreshment Edible (or semi‑edible) display; allegory, heraldry, pageant
Form Real dishes: rice, fritters, jellies, fruit, delicate pottages Sculpted pastry/sugar/marzipan; sometimes inedible components
Placement Between major courses (e.g., after fish/pottage, before roasts) Also between courses, but primarily ceremonial/representational
Examples Blawnche Perrye; colored rice; almond jelly; small fritters Heraldic beasts; castles; motto banners; sugar tableaux

Historical Examples

  • Blawnche Perrye — a light, pale pottage; visually striking early in a feast.
  • Colored rice — saffron‑gold, parsley‑green, or spiced rice for contrast.
  • Fritters — rice or fruit fritters served in small bites.
  • Jellies — molded almond or wine jellies; multicolored effects.
  • Disguised dishes — meats/fish presented in altered forms for surprise.

Regional Variations of the Entremet

While the entremet began in French courtly dining, the idea of a “between dish” spread widely. Each region adapted the form to local tastes, ingredients, and cultural priorities.

France

In sources such as Le Viandier and Le Ménagier de Paris (14th c.), entremets often took spectacular form — multicolored jellies, stuffed or disguised animals, and occasional allegorical displays.

England

English manuscripts like Harleian MS. 279 (~1430) present plainer entremets: light pottages (e.g., Blawnche Perrye), spiced rice, or oyster dishes — emphasizing humoral balance over pageantry.

Italy

Italian masters (Maestro Martino, Scappi) blurred entremets with refined lighter courses: almond milk dishes, sugared rice, small pasta or vegetable preparations with elegant presentation.

Spain & Catalonia

Texts such as Llibre de Coch (1520) show sweet‑leaning entremets — almond pastes, candied fruits, spiced rice — foreshadowing dessert traditions.

Germany

German Speisebücher and later works (e.g., Anna Wecker, 1598) feature Zwischenspeisen (“between‑dishes”): saffron or parsley‑colored rice, Sülze (bright fish/meat jellies), and fritters like Krapfen or Strauben — practical, colorful, and texturally contrasting.

Comparison at a Glance

RegionStyleTypical Entremets
FranceSpectacle & allegoryMulticolored jellies; disguised animals; displays
EnglandPlain & balancingLight pottages; Blawnche Perrye; spiced rice; oysters
ItalyRefined & sweet‑leaningAlmond milk dishes; sugared rice; elegant vegetables/pasta
SpainSweet & aromaticCandied fruit; almond pastes; sweet rice
GermanyPractical & colorfulSaffron/parsley rice; Sülze; fritters (Krapfen, Strauben)

Cultural Implications of the Entremet

  • Status & Wealth: saffron, sugar, and almonds advertised trade connections and prosperity.
  • Hospitality & Generosity: an “extra” dish beyond necessity signaled refined care for guests.
  • Symbolism & Allegory: colors, shapes, and motifs could project heraldry, virtues, or politics.
  • Religious Context: on fast days, almond/fish/rice entremets expressed piety while keeping celebration.
  • Urban vs. Rural: princely or guild feasts layered multiple entremets; smaller households scaled with fruit or fritters.

Techniques & Ingredients for Recreating Historical Entremets Today

Coloring & Flavoring

  • Saffron for gold; spinach/parsley juice for green; beet/red wine for red‑purple.
  • Pouder douce/forte-inspired spice mixes (cinnamon, ginger, grains of paradise/pepper, clove) for warming balance.

Texture & Setting

  • Gelatin sheets as a modern stand‑in for isinglass; almond milk (unsweetened) for dairy‑free jellies/pottages; rice flour for smooth thickening.
  • Use silicone molds or small ramekins for easy unmolding and portion control.

Service & Plating

  • Keep portions amuse‑bouche to tasting‑spoon size.
  • Serve on trenchers or small plates for visual “in‑between” cues.
  • Contrast color/temperature with adjacent courses (e.g., warm saffron rice after a cool fish pottage).

How Preparation & Serving Evolved Across Cultures

  • France: 14th‑c. courtly showpieces; by 17th‑c. service à la française, “entremets” shifts toward plated side dishes (vegetables/sweets).
  • England: lighter, balancing dishes early on; later, subtleties dominate the between‑course spectacle while “entremet” as a named category fades.
  • Italy: refined palate‑cleansers in Martino/Scappi; drift toward sweet course traditions.
  • Germany: practical Zwischenspeisen (colored rice, Sülze, fritters) persist as pacing devices; concept echoes into modern zwischenmahlzeiten (snacks).
  • Spain/Catalonia: sweet, aromatic dishes bridge to the rise of post‑meal desserts.

Social & Political Implications of Elaborate Entremets

  • Political messaging: allegorical colors/figures could reinforce heraldry, dynastic claims, or alliances.
  • Diplomatic theatre: multiple entremets broadcast wealth and organizational prowess to envoys/guests.
  • Religious signalling: fast‑day almond/rice/fish displays piety + generosity.
  • Guild identity: urban companies used entremets to rival noble display and celebrate craft prosperity.
  • Class contrast: layering “extras” underlined hierarchy where common tables had few courses.

Modern Feast Planning: Reviving the Entremet

  • Pick one small, high‑impact dish (colored rice, fritter, molded jelly).
  • Plate for contrast (color/temperature/texture) and keep portions small.
  • Mind humoral balance: pair cold‑moist (oysters, almond milk) with warming spices (ginger, pepper).
  • Leverage dietary wins: many entremets are naturally GF/DF; offer a vegan variant where sensible.

🍽️ Entremet Examples on Give it Forth

FAQ: Does a Modern Galantine Count as an Entremet?

Sometimes. If served as a small, decorative “between” dish (rather than as part of the roast service), a galantine can function as an entremet. Keep portions modest and presentation striking; otherwise it reads as a main meat course.

Sources & Further Reading

Oranges after the Portugal Fashion (Sir Hugh Plat, 1609)

🍊 Oranges after the Portugal Fashion (Sir Hugh Plat, 1609)

Originally published 1/18/2015 - Updated 9/10/2025

Description. This dazzling Renaissance confection comes from Sir Hugh Plat’s Delights for Ladies (1609). “To preserve Orenges after the Portugall fashion” describes a labor-intensive but show-stopping sweet: whole oranges boiled to temper bitterness, candied in syrup, then stuffed with marmalade made from their own pulp. Once finished, they’re sliced like hard-boiled eggs—revealing a jewel-bright center.

Note: Period cooks likely used Seville (bitter) oranges. Sweet oranges make a gentler, less astringent modern result; either works with the method below.

Candied whole oranges simmering in clear sugar syrup, Portugal fashion
Candied whole oranges simmering in syrup.

Historical Recipe (1609)

To preſerue Orenges after the Portugall faſhion. Take Orenges & coare them on the ſide and lay them in water, then boile them in fair water til they be tender, ſhift them in the boyling to take away their bitterneſſe, then take ſugar and boyle it to the height of ſirup as much as will couer them, and ſo put your Orenges into it, and that will make them take ſugar. If you haue 24. Orenges, beate 8. of them till they come to a paſte with a pounde of fine ſugar, then fill euery one of the other Orenges with the ſame, and ſo boile them again in your ſirup: then there will be marmelade of orenges with your orenges, & it will cut like an hard egge.

— Sir Hugh Plat, Delights for Ladies (1609)

Modernized Transcription

To preserve oranges after the Portugal fashion: core each orange on the side and soak in water. Boil in fair water until tender, changing the water to reduce bitterness. Boil sugar to a syrup sufficient to cover and put the oranges in so they take sugar. Of 24 oranges, beat 8 to a paste with a pound of fine sugar and fill the remaining oranges. Boil again in the syrup: you’ll have marmalade of oranges within the oranges, and it will cut like a hard egg.

Torta Bianca – White Tart (Redon, 1998)

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

Renaissance banquet scene from Veronese’s Feast in the House of Levi, evoking pale white pies like Torta Bianca.
“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

Diriola – Maestro Martino’s Renaissance Custard Tart with Rosewater & Cinnamon

Diriola – Maestro Martino’s Custard Tart (Libro de arte Coquinaria)

Renaissance banquet scene in Veronese’s House of Levi; a lavish table evocative of sweet custard tarts like Martino’s diriola.
“The Feast in the House of Levi” (detail), Paolo Veronese. Used here as period context for Renaissance custard tarts like Martino’s diriola.

Maestro Martino da Como (c. 1465) was one of the most influential cooks of the Renaissance. His Libro de arte Coquinaria includes Diriola, a delicate custard tart scented with cinnamon and rosewater. The dish straddles the line between medieval spiced creams and the refined Renaissance custards we’d recognize today. Redon, Sabban, and Serventi’s The Medieval Kitchen (1998) provides a modern adaptation faithful to Martino’s cues.

Original Recipe (Martino, c.1465)

Italian (15th c.)

“…un poca d’acqua rosata, et volta bene collo cocchiaro. Et quando sarà fornita di prendere, sera cotta. Et nota che non vole cocere troppo et vole tremare como una ionchata.

Per la Quadragesima: Habbi del lacte de le amandole con del zuccharo, et dell’acqua rosata, et de la canella. Et per fare che si prenda gli mettirai un pocha di farina d’amitto, observando in le altre cose l’ordine del capitolo sopra ditto.”

Translation

“…add a little rosewater and stir it well with a spoon. When it begins to set, it is cooked. Note that it should not be over-baked; it should quiver like a junket.

For Lent: take almond milk with sugar, rosewater, and cinnamon. To make it set, add a little starch flour, following the same method as above.”

De la insaleggiata di cipolle – Renaissance Onion Salad with Spices

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

Renaissance banquet scene in Veronese’s House of Levi; a lavish table evocative of spiced dishes like roasted onion salad.
“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)

Renaissance banquet scene in Veronese’s House of Levi; a lavish table evocative of simple dishes like fava in broth.
“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.

🍽 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.

Del Brodo Saracenico – Saracen Chicken with Fruits & Almonds (Redon, 1998)

Del Brodo Saracenico – Saracen Chicken with Fruits & Almonds (Redon, 1998)
Renaissance banquet scene in Veronese’s House of Levi; a lavish table evocative of rich savory pies like garlic torte.
“The Feast in the House of Levi” (detail), Paolo Veronese. Used here as period context for a Renaissance savory pie.

Del Brodo Saracenico – Saracen Chicken with Fruits & Almonds (Redon, 1998)

Del brodo saracenico appears in medieval Italian sources and in modern redaction by Odile Redon et al. (1998). It marries roasted capon or chicken with wine, tart “acid juices,” toasted bread, almonds, dates, raisins, and a gentle spice blend—classic agrodolce (sweet-tart) Renaissance vibes with an evident Mediterranean/Arabic influence.


📜 Original Historic Recipe

Latin (Liber de Coquina, late 13th c.)

De brodio sarracenio: pro brodio sarraceno, accipe capones assatos et ficatella eorum cum speciebus et pane assato tere bene, distemperando cum bono vino et succis agris. Tunc frange membratim dictos capones et cum predictis mite ad bulliendum in olla, suppositis dactilis, uvis grecis siccis, amigdalis integris mondatis et lardo sufficienti. Colora sicut placet.

English (modern translation)

Saracenic broth: to make Saracenic broth, take roasted capons and their livers with spices and toasted bread, pound them well, diluting with good wine and acidic juices. Then cut the capons into pieces and cook in a pot with the ingredients mentioned before, placing on top dates, Greek raisins, whole peeled almonds, and sufficient lardo. Color as you like.

Note: Source and translation discussion in the references below.

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

Fungi di Monte – Renaissance Mountain Mushrooms

Renaissance banquet scene in Veronese’s House of Levi; a lavish table evocative of rich savory pies like garlic torte.
“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

Torta d’Aglio (Garlic Torte) – Renaissance Savory Pie with Cheese, Garlic & Spices
Renaissance banquet scene in Veronese’s House of Levi; a lavish table evocative of rich savory pies like garlic torte.
“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.

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.


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.


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.

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

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