Braised Onions & Florentine Walnut Sauce – Renaissance Recipes for Lent

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

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

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

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Historical Context

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

Ingredient Notes & Substitutions (Modern vs. Historic)

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

How These Dishes Reflect Renaissance Culinary Practice & Culture

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

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

Recipe 1: Braised Whole Onions (Scappi, 1570)

Original (summary from Scappi)

Modern Translation

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

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

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

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

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

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

Historical Context: The Arrosta in Renaissance Dining

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

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

Theory of Digestion and Humoral Balance

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

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

Variety Within the Roast Course

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

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

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

Salting as a Preservation Technique

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

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

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Menu

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

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

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

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

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

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

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

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

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

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

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

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

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

Bread, Beauty, and Banquets – Renaissance Context

Daily Bread and Dietary Staples

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

Flour Types in the Renaissance – and Modern Substitutes

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

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

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

Why Nine Ounces?

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

Enrichment, Aesthetics, and Symbolism

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

Crescent Butter and Decorative Serving

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

🌙 Crescent Symbolism in January and Renaissance Feasting

1. Lunar Symbolism  

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

 2. Marian Symbolism  - The Virgin Mary and the Crescent 

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

3. Celestial and Astrological Themes

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

4. Aesthetic Elegance and Seasonal Harmony 

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

A Bread Course? Not Quite

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

Historical Context

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