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).
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