FRESH SUMMER FRUIT PIES OF THE LIBRO NOVO
By Heather Mosey
Fresh fruit pie is a pleasure of summer,
and that pleasure was known in the Italian
city-state of Ferrara during the Renaissance.
Christoforo Mesissbugo, steward of the Este
family during the early sixteenth century,
and author of the Libro Novo, gave us
a pie recipe that is distinctly of the
Italian Renaissance, yet the classic
simplicity of this pastry would make
it welcome on a twenty-first century table.
This pie possesses a delectable, melting soft
flour crust that will convince you that the
Italians were masters of the art of pastry.
The fruit filling is rich and spicy, but
retains the fresh, fleeting, flavor of summer
fruit.
Two recipes are used to create the fruit pie.
The second recipe refers to the Pie of Quince
asking the cook to make that crust. The addition
of cloves and rosewater to the quinces is the
most distinctive difference between the recipes,
but they are not used in this redaction. I
suspect that those ingredients would be
delicious with a variety of fruits.
A fare un pastello di Cordogne, che uvole
essere tondo.
Prima farai la Cassa del pastello no trappo
grande con farina, e Butiro, & un poco Zaffrano,
poi pigliarai un Cordogno grosso, e lo mondarai
cosi intiero, e li farai un buco nel mezzo tanto
che caui lanime co tutto quell toso doue stan
lanime dentro, e qualle che Giordano intiero,
poi li farai il sue coperto, e lo pourrai a cuere
con dispora, e se li Cordogne seranno piglia, li
farai I quarto de pezzi.& per uno pastellonon gli
uorra meno Butiro doncie noue e Garosani numero
dieci , & Zuccaro libra meza, & acqua Rosata.
To Make One Round Quince Pie
First you will make the shell of the pie
not too large, with flour and butter and
a small amount of saffron.
Then you will take one large quince and you
will peel this whole, and you will make one
hole in the middle so you may remove the seeds
and the entire core containing them.
And you will put them in the pie with butter
and sugar and some whole cloves, then you will
make your cover, and you cook it with careful
attention, and if the quinces are small, you
will cut them in quarters, and for one pie it
wants not less than nine ounces of butter and
ten cloves, and one half pound of sugar, and
rose water.
Pastello versus Torta
The vital information Messisbugo gives in the
Quince Pie recipe is the ingredients for the
case or Pastello. Florio defines pastelli or
pastegli as fine little pasties, or pastemeates,
tartes, pyes, chewets or marchepanes.
On the other hand, a torta is any kind of tarte.
So a pastello is logically a sweet, dainty torta.
The gastronomic glory of this pastello is that it
does not require the toughening agents of sugar
and eggs. Many tortas in the Libro Novo require
egg-strengthened cases that essentially become
stew pots for the filling.
Tough cases are not limited to the Libro Novo, Redon,
Sabban and Serventi wrote The Medieval Kitchen:
Recipes from France and Italy.
They guess that the pastry case had two functions,
concealing surprise ingredients and protecting the
delicate interior from burning in an open fire, and
thus are not necessarily meant to be eaten. Often
the case was merely a paste of flour and water (pg.133-4).
These less edible cases appear to be the rule in the
French, English and German cookery. The pastry for
the Quince pie points to what Elizabeth David calls
the advanced state of civilized life in Italy as
compared to that of France in the first half of the
sixteenth century (pg.8). Messisbugo asks
for flour, butter, and saffron. This crust buttery,
flaky and golden is very pleasing to the senses, it
is meant to be enjoyed.
First you will make the shell of
the pie not too large
This is meant to be a dainty dish, not a display
piece. There are examples of tortere, or tart pans,
shown in Messisbugos Banchetti.
There are no dimensions given, but the tortere look
very similar to modern pie pans, with straight or
sloped sides. This redaction uses a 9-inch pie pan
as an approximation. Messisbugo tells us that we
are to use the crust of the Quince Pie (see above)
so that it is wider on the bottom and that is to
be pressed on top This sounds like a covered, or
two crust pie.
A Question of Flour
The recipe calls for flour and butter
and a small amount of saffron. Before deciding
on a quantity or method for making this pie case
it was important to look at the ingredients
themselves.
My initial reaction is to use a soft wheat pastry
flour simply because it has a low protein and will
result in a flaky crust. That is a modern impulse
based on modern experience in baking. A more
complex question is what type of flour is proper
for the region and time?
The flour of Italy is the species Triticum aestivum,
which is divided into two categories, soft wheat
and hard wheat (grano tenero). Kasper notes that
the wheat grown in the Po river valley is soft
because of the heat and soil type. There are five
grades of grano tenero, and they are classified by
the amount of husk and whole grain that remain
after sifting. The appearance and the whole grain
content determine the grade of the flour. 00 is
the most refined Italian flour, and 0 contains
about 70% of the grain, and therefore is slightly
darker and coarser. American flour is measured by
its protein content, or strength. American bread
flour has 13-15% protein, all-purpose flour has
a protein of 11 or 12 percent, and pastry flour
is 4-9% protein.
American all-purpose flour is a bit stronger than
Italian 0 flour. The Italian practice of grading
flour by appearance is helpful when deciding
the type flour to use in Renaissance recipes.
Carol Field and Lynne Rosetto Kasper recommend
mixing one part cake flour to four parts all-purpose
to approximate modern 0 flour and one part cake
flour to three parts all-purpose to mimic 00 flour.
I used these proportions in my work because Messisbugo
often specifies the finest, whitest flour for his most
delicate recipes.
Butter is another question, and again,
we turn to Ms. Kasper. (pg. 473) Butter was a symbol
of wealth in Emilia-Romagna (Ferrara is located in
this region), and it was used to make game, pasta
filling and vegetable more rich. She recommends Grade
AA unsalted butter, with the least water content
available, to mimic European butter. Emilia-Romagna
is traditionally a rich dairy region, and its butter
is heavily used in Libro Novo recipes.
To Brisèe or Not Brisèe
Messisburgo did not give any further clues about
the technique of combining the ingredients for
the pastry crust. The ingredients of Pasta Briciolata
and Pate Brisèe are similar to each other and to
this pastry recipe that Messisburgo gives (with the
exception of saffron). In the past, I used Julia
Childs pate brisèe (pg.139), which makes a delicious,
melting crust. The classic method of assembly simply
cuts the butter into the flour and adds cold water.
It is essential to keep all the ingredients very cold
and use a light touch. Later, I decided to use the
traditional Italian pasta briciolata (Bugialli,
pg. 468-71), which requires much more handling and
room temperature ingredients, but similar proportions
of butter and flour. I have no evidence to support
one method over the other, but it is possible the
traditional Italian technique may have origins in
Renaissance Italy, rather than French pastry making.
The French did play with the recipes and techniques
they learned from the Italians, and added their own
touches. I chose to put saffron in the mixture by
mincing it with a knife and adding it to the flour.
The saffron creates beautiful rich golden flecks in
the dough when added in this manner.
Pastelli di Marene, persiche, o Brogne, o Muniache,
pera, o pome.
Farai la cassa di pastello del modo che fu quella
del pastello di cordogne, che sia larghetta nel
fondo, e che si venal stringed di spore, poi per
un Pastello, pigliarai libra una di Marene a buono
peso, monde da i picolli, e nel fondo della Cassa
del Pastello, le distenderai politamente, poi li
metterai oncie cinque di Zuccaro, & oncia meza di
bouna canella fina, & onci cinque butiro fresco, &
poi li farai il sou coperto tagliato di sopra in
tre luoghi, poi lo cuocerai destramente, El simile
farai in quelli delle alter frutte. Ma avuertissi
che le alter frutte una pelate, e le pelerai
faccilmete in questa maniera, Sbolienzandole in
Vino, od acqua, & poi che seranno raffredate pelandole,
& alle pere moscardine li lasciarai mezi i picolli.
Pies of Cherries, or Peaches, or Plums, or Apricots,
or Pears or Apples
You will make the case of the pie in the way of
the quince pie; make the bottom half wider, so
you may press on a top.
Then for one pie you will take one pound of
cherries and crush, clean from the seeds, and
spread them neatly in the bottom of the pie case.
Then you will place five ounces of sugar, and half
an ounce of good finely ground cinnamon, and five
ounces of butter, and then you will make your cover
and cut it in three places, then you will cook it
carefully.
And if you will use other fruits you will make
those pies in a similar fashion. But note that
you will peel the other fruits, and you will peel
those fruits most easily in this manner, soak them
in wine or water, and then when they are plump,
peel them. And Italian pears (or musk pears) cut
them to make them small.
Tutti Frutti
Then for one pie you will take 1 libra (12 oz.)
of cherries and crush and clean from the seeds and
in the bottom of the case you will spread neatly.
The question of preparation is very clear here, but
the type of fruit is a mystery. Carol Field mentions
marasche which are wild sour cherries from Bologna
[in the same region as Ferrara] (pg.391). Florio
defines marascha as a kind of soure cherrie and
marene as a kind of faire great cherrie. It appears
that the marene of the recipe may be a sweet cherry.
I tested this with Bing cherries, and the result was
pleasing. I think it is a fair assumption to say that
a sour cherry would be an excellent choice as well,
because the amount of sugar and butter can use an
acidic foil.
Cherries are just one choice of fruit. I have
used apples, pears, and plums for this pie, all with
great success. Plum makes an especially rich colorful
pie. Italian expatriate, Giacomo Castelvetro wrote
a treatise called The Fruit, Herbs & Vegetables of Italy
in 1614.
He describes the flavors and uses of common produce
used in his native country. This work gives invaluable
information (and makes it quite clear to me that Red
Delicious is not a great substitute for period apples).
Despite the fact that the majority of markets do not
carry heirloom European produce (are there any that
do???), choosing any full-flavored fruit is an
excellent and appropriate choice for this pie.
Directions for preparing the fruit are given.
Messisbugo recommends soaking the fruit in water
or wine to make them plump, and then peeling them.
I had two interpretations of this direction.
My first thought was to blanch fresh fruit to
loosen the skin and ease the peeling. However,
after the harvest season the cook would need to use
dried fruits, soaking them in water or wine would
rehydrate the fruit and allow the cook to peel them,
and the wine would add another layer of flavor to
the pie. I usually blanch the fruit for this pie,
and I suspect that dried fruit would make and
intense filling.
Zuccaro et Canella
Then you will place five ounces
of sugar, and half an ounce of fine-ground
cinnamon, and five ounces of butter During
the period this recipe was written, sugar was
a major commodity in Venice, just north of Ferrara.
The Venetians had devised a method to make sugar loaf.
This processing of sugar refined it further, and made
it more accessible to wealthier families. I use white
granulated sugar in this recipe because sugar loaves
are not readily available today. The cinnamon used
in this recipe was Ceylon Cinnamon. It is softer and
sweeter in flavor. The amount of cinnamon in this
recipe, half an ounce, would be unpalatable if it
is cassia, the modern cinnamon we use in the U.S.
Ceylon cinnamon has a tremendously different flavor,
and you should not be afraid to use it in this
extravagant amount. The problem I have with Ceylon
cinnamon is that grinding it with a mortar inevitably
leaves larger pieces.
Some people enjoy the concentrated flavor, while
others find the texture gritty or woody. I recommend
sifting the ground Ceylon cinnamon, though because
of the quantity of the spice the texture will be
noticeable.
Libra et Oncia
A worldwide standard of measurement did
not come into use until the twentieth century.
Elizabeth David says that when she did her research
in Italy in the 1950s cooks used handfuls and
bunches, scales and measuring cups were rarely used.
During the Renaissance measurement was tremendously
unique to an area. Because the Roman Empire had such
far-reaching influence, it is appropriate for the
modern redactor to use Roman measures. However, Ronald
Edward Zupko researched historical weights and measures
of Italy, and he provides invaluable knowledge.
When I redacted these recipes, I used Zupkos research
to measure the Libro Novo libra and oncia. He translates
1 libra as 12 ounces or 345 grams. An oncia is 28.8 grams.
Pasta Briciolata (Pastry Crust) (all measurements are modern)
2 ounces pastry flour
6 ounces all-purpose flour
4 ounces sweet butter
Pinch of salt
Pinch of saffron, minced
4 to 5 tablespoons cold water
Method:
1. Sift the flour onto a board and arrange
it in a mound. Cut the butter into pieces
and place them over the mound. Let rest ½
hour until the butter softens.
2. Start mixing the flour into the butter with your fingers.
3. Rub the flour and butter between your palms.
4. Then make a well and put in the salt and saffron.
Add 2 tablespoons of water, mix with a fork, and
keep adding the water until it is all absorbed.
5. Begin to form a ball with your hands.
Knead gently until a very smooth and elastic ball
of dough is formed (about 2 minutes).
Divide the dough into two parts, one slightly
larger than the other.
Slightly dampen a towel and wrap the dough in it.
Let it rest in a cool place or in the refrigerator
for at least 1 hour.
6. Dust the board with flour.
Unwrap the dough and knead it for 1 minute on the
board.
Flour the board, then using the rolling pin, roll
out the larger dough ball into a layer less than
1/4 inch thick and about 14 inches in diameter.
Place gently in a buttered 9-inch pie pan.
7. Fill the crust and roll out the smaller ball of
dough to 1/4 -inch thickness and 12 inches diameter.
Set aside to cover the pie.
Fruit Filling
1 libra, 345 g or app 2 cups of cherries, pitted or
peaches or apricots, or pears, or plums or apples,
blanched, cored and cut in ½ slices.
5 oz., 144 g, or 3/4 cup of white granulated sugar
5 oz., 144 g, or 1 ½ sticks unsalted sweet cream butter
1/2 oz, 14.4 g, or 4 TBS. Ceylon cinnamon (or 1 to 2 tsp. cassia)
1. Preheat the oven to 375˚F.
2. Pit the cherries by crushing them with the
bottom of a sturdy glass, or using a paring
knife to open the fruit, and remove the pit.
Place the cherries evenly in the prepared pie-crust.
OR
Bring 3 quarts of cold water to a boil in a large pot.
Lightly score an X into the skin of the fruit.
When it boils carefully drop the fruit into the water.
Have a large bowl half filled with ice water.
After 1-2 minutes remove the fruit and place in
the ice water.
Peel the skin away with a knife.
3. Sprinkle the sugar and cinnamon over the fruit.
Cut the butter into pats and place evenly over the
fruit and sugar.
4. Using the reserved pie dough, rolled thin, cover
the pie, trim and flute the edges.
Make three vents in the top crust with a sharp knife.
5. Place the pie dish into a moderately hot oven, 375°F
for 40-50 minutes until the top is golden brown in color.
Finally
This is the first period pastry recipe
Ive worked with that is undeniably meant to be
eaten and enjoyed. It is not intended to simply be
a protective container for the filling. The
pastello ingredients are the same as those used in
modern pastry crusts.
This pie could be a link between modern and medieval tarts.
It also indicates the Italian recipes may have been uniquely
sophisticated in during the early 16th century.
Regardless of this pastrys significance, it is a delectable recipe, and would
be a spectacular part of a Renaissance
feast.
Acknowledgments
Translating from Renaissance Italian
to Modern English USA creates many questions,
and the answers come slowly. The pleasure of
recreating a 400+ year-old recipe is intensified
when I realize the steps taken to make it as close
to period as possible.
Master Basilius Phocas translated these recipes,
and redacted them with help from apprentices,
Claire a len Or and Rachaol MakCreith.
Primary Sources
Di Messisbugo, Christoforo Libro Novo: Venice: 1557,
Reprinted Bologna: Arnoldo Forni, 1973.
Redon, Odile; Sabban, Francoise; and Serventi, Silvano;
The Medieval Kitchen: Recipes from France and Italy: Chicago:
University of Chicago Press, 1997.
Scappi, Bartolomeo Opera: Venice: 1610 Edition,
Reprinted Bologna: Arnoldo Forni, 1980.
Thomas, William; Principal Rules of the Italian Grammer:
1550, reprinted Menston, England: R.C.Alton, 1968.
Near Period Sources
Castelvetro, Giacomo; The Fruit, Herbs and Vegetables of
Italy: London, 1614.
Florio, John; Queen Annas New World of Words: 1610,
Reprinted Menston, England: R.C. Alston, 1968.
Modern Sources
Bugialli, Giuliano; Classic Techniques of Italian
Cooking: New York, Simon and Schuster, 1989.
David, Elizabeth; Italian Food: New York, Smithmark, 1996.
Field, Carol; The Italian Baker: New York, HarperCollins, 1985.
Fitzgibbon, Theodora; The Food of the Western World: New
York, Quadrangle/The New York Times Book Co., 1976.
Kasper, Lynne Rosetto; The Splendid Table: New York, Morrow, 1992.
Root, Waverly; Food: New York, Smithmark, 1980.
Zupko, Ronald Edward; Italian Weights and Measures From
the Middle Ages to the Nineteenth Century: US ISSN 0065-9738.
http://home.comcast.net/~iasmin/mkcc/MKCCfiles/LibroNovoFruitPies.html
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