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

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

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

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

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

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

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

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

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

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

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

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

Bread, Beauty, and Banquets – Renaissance Context

Daily Bread and Dietary Staples

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

Flour Types in the Renaissance – and Modern Substitutes

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

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

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

Why Nine Ounces?

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

Enrichment, Aesthetics, and Symbolism

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

Crescent Butter and Decorative Serving

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

🌙 Crescent Symbolism in January and Renaissance Feasting

1. Lunar Symbolism  

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

 2. Marian Symbolism  - The Virgin Mary and the Crescent 

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

3. Celestial and Astrological Themes

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

4. Aesthetic Elegance and Seasonal Harmony 

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

A Bread Course? Not Quite

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

Historical Context

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

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

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

Course: Bread for the Table

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

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

A Renaissance Ring: The Story Behind Brazzatelle

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

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

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

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

Are They Bagels?

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

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

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

Sweet, Rich, and Refined

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

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

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

Original Recipe

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

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

— Messisbugo, Libro Novo, 1557

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

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