This Tuscan Life This Tuscan Life - SUMMER 2019 - Number Twelve
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The Best of Tuscany SUMMER 2019
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PRESTIGIOUS PROPERTIES FLORENCE VIA SAN NICCOLO’ 54R 50125 FIRENZE +39 055 247 7048 LUNGARNO ALLE GRAZIE 18R 50122 FIRENZE +39 055 234 7386 www.sanniccolorealestate.it sanniccolorealestate@gmail.com
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This Tuscan Life
EDITOR
Lisa Brancatisano
lisa@thistuscanlife.com
DIRECTOR Luca Lari
CONTRIBUTORS
Arturo Dori | CHEF Thomas Martini| BARMAN Toni Brancatisano| Food Blogger & Stylist Elisa Scarton Detti| Journalist This Tuscan Life, trimestrale numero 12 |SUMMER 2019 Registrazione Tribunale di Firenze n° 2447 del 26/4/2017
Contact us : info@thistuscanlife.com Download the digital version of This Tuscan Life www.thistuscanlife.com Cover Photo : The idyllic view from ‘Bagno Le Forbice’ Rossignano Marritimo.
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I
SUMMER in Tuscany t’s Summer, it’s hot and in Tuscany we are spoilt for choice of
perienced to fully understand the passion that takes over both towns
places to visit and things to do!
during these historic celebrations.
In this issue, we take a tour of some of the most popular coastal towns
Our recipes this issue follow our beach theme and we pay tribute to
and beaches, giving you a few options of some the most beautiful
Chef Luciano Zazzeri, Michelin Star owner of La Pineta restaurant
public and private beach locations in Tuscany. We explain the Ital-
in Marina di Bibbona who sadly passed away earlier this year. Two
ian beach culture and Ferragosto which is probably one of the most
years ago I was honoured to meet him, hear his story and enjoy his
important Italian public holidays of the year! Celebrated on August
famous Cacciucco which I am sharing again in this issue.
15, Ferragosto coincides with the Catholic Feast of the Assumption
Chef Arturo Dori shares his version of Spaghetti alle Vongole and I
of Mary, a holiday that goes back to the times of Roman Emperor Au-
share our family recipe for Conserva di Pomodoro, our bottled tomato
gustus who introduced the ‘Feriae Augusti’ to celebrate the harvest.
sauce. Also make a refreshing peach tart by Toni Brancatisano and
Most Italians are away on this day so if you can’t be on the beach, it’s
enjoy our favourite Summer cocktails by Thomas Martini.
actually a great day to stay in the city and enjoy the quiet streets and fewer crowds in the museums & art galleries.
Whether you are on the coast or in the country, or reading this from your loungeroom in another part of the world, I hope you enjoy This
Florence celebrates their patron saint, John the Baptist in June with
Tuscan Summer!
a historical soccer game known as Calcio Storico and July 2 and August 16 are when the historic Palio di Siena horse race takes place.
w
Both events are full of tradition, rituals and emotion that has to be ex-
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CONTENTS MAREMMA - page 18
ARTISANS UNEXPECTED PUCCI - page 34
L’ISOLA DEL GIGLIO - page 24
The Florentine fashion house reveals a new publication, curated by Laudomia Pucci and published by Rizzoli New York, which tells about the brand universe beyond fashion: design, art, furniture and lifestyle.
VISIT
L’ISOLA d’ELBA - page 22 PIETRASANTA - page 28
GIULIO GIANNINI & FIGLIO- page 40
FORTE DEI MARMI - page 32
Artistic book binding and hand decorated paper since 1856, this 6th generation business is an incredible example of Florentine talent, creativity, heritage and pride in an art that is synonymous with the Renaissance city of Florence.
EXPERIENCE
TUSCANY EQUESTRIAN VAL D’ORCIA - page 48 Discover this new Equestrian Resort in the heart of Val d’Orcia. Combine a UNESCO world heritage listed site with a day-spa, gourmet restaurant, luxury accommodation and horse-riding and you have one of the best Tuscan escapes that you could imagine. After a visit here, you will understand why owner, Gianluca Magri made the right life-change when he decided to sell his business to create this equestrian resort.
THE TERRACOTTA OF IMPRUNETA - page 44 Only in the town of Impruneta can you find the true and original Tuscan terracotta. Filippo Brunelleschi’s Florence Duomo has its cupola (dome) covered in terracotta tiles from Impruneta and artisans today still take pride in the unique clay found here.
ART THE INNOCENTS OF FLORENCE - page 55 A must-see documentary for anyone who wants to understand Florence’s rich history of philanthropy, this film follows the restoration of a fifteenth-century painting called the Madonna degli Innocenti.
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TRADITION IL PALIO - page 58
RECIPES
continued
PAPPA AL POMODORO - page 70
There’s no other horse race or event quite like the Palio di Siena. Learn all about the rituals of the four days surrounding this race and rivalry and competition between the local districts.
A favourite Tuscan comfort food with peasant origins that makes use of old bread, fresh, in-season tomatoes and basil, you’ll be making this your new go-to evening Summer family meal.
SHRIMP COCKTAIL - page 73 IL CALCIO STORICO - page 64
This is one of Harry Bar Firenze oldest starter recipes, even tastier when accompanied by a Bellini!
Held every June in Florence, this rough and aggressive historical soccer game is an important event for the city. Special thanks to the official photographer of the event, Giuseppe Sabella, we take a look at the game from behind his lens.
COCKTAILS
- page 87
SUMMER CHERRY - 88 BELLINI - page 89 AQUA MARINA - 90 HARRY AT THE BEACH - 91
RECIPES
IL CACCIUCCO dello CHEF ZAZZERI - page 76
Two years ago I was honoured to spend an afernoon with Chef Luciano Zazzeri and listen to his story of fisherman turned Michelin Chef and so was very saddened to hear of his passing earlier this year. We share his classic recipe for Cacciucco (fish stew) as a tribute to this talented, kind and generous man.
SPAGHETTI ALLE VONGOLE - page 78 Everyones favourite during the Summer months, especially when we are at the beach, Chef Arturo Dori shares his version of this classic Italian dish.
BUDINO DI RISO - 80 This classic rice pudding treat is popular around Siena and Florence, usually standing at the bar with your morning cappuccino.
- page 67
LA CONSERVA DI POMODORO - page 68
CROSTATA DI PESCHE - 82
This simple recipe has been made the same way for over a century by my father’s family, first in Calabria and then in Australia. Passed down from one generation to another, my family still get together each year to make our annual supply of tomato sauce.
Summer is when we celebrate fresh peaches and this Crostata di Pesche is the perfect dessert to finish off your Summer meal. Or indulge and enjoy it for breakfast as the Italians prefer to do!
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CONTRIBUTORS CHEF
Arturo Dori Arturo Dori, private chef, sommelier and gourmet extraordinaire shares his incredible knowledge each month with one of his signature Florentine dishes. In 1994 he opened his own restaurant Il Cavolo Nero in his native city of Florence and for the next fifteen years Il Cavolo Nero, was known as one of Florence’s most highly-regarded restaurants. In March 2009 Arturo Dori decided to embark on a new experience, that of offering his chef services directly in people’s homes. He has since gone on to train the kitchen staff at some of the best kitchens in Florence, and has worked as a private chef for high profile clients that include, Zubin Mehta, singer Tony Bennet, Moby and Jimmy Kimmel. In 2014, he also had the honor of cooking for His Holiness the Dalai Lama. An eclectic experimenter and passionate observer, he now works as a home chef for exclusive private clients and offers private and group cooking classes at Desinare Cooking School in Florence. www.arturodori.com
STYLIST & FOOD BLOGGER Toni Brancatisano
Toni Brancatisano was brought up in Australia by her Calabrian father and her English mother, surrounded by boxes of fresh produce (her father Joe has a wholesale fruit & vegetable business), and amazing food prepared by her culinary talented mother. Even though she became a Registered Nurse after school, her passion for food led her to Italy where she has lived since 1998. Spending 14 years in Tuscany, Toni is now based in Rome where her work and life revolves around ‘la buona cucina’! She has hosted several TV series on the Italian food channel, Gambero Rosso, & has appeared on radio, in Italy and Australia. Her first book on cake decorating was published in 2012. Toni decorates cakes and caters for special clients, she has often acted as Master of Ceremonies for various company events and has also collaborated with Tourism Australia and the Australian Embassy. Toni conducts specialised food tours, does private, exclusive catering and has worked as a food stylist for International brands. www.tonibrancatisano.com
BARMAN
Thomas Martini
Thomas Martini - with a name like that, it seems like destiny played her card in Thomas’s future! Following in the footsteps of his famous father, a well known professional barman for more than forty years, Thomas decided to study the craft himself. He remembers his fascination with the style, elegance and dim lights of the cocktail bar while growing up observing his father. He has worked at some of the best hotels and bars in Italy from the Grand Hotel Cristallo in Cortina D’Ampezzo to the Principe di Piemonte in Viareggio. He perfected his skills, classic style and master technique as barman and was eventually lured to the iconic Harry’s Bar Firenze in 2013. Thomas’s philosophy is simple; respect the original recipes & stay loyal to the drink. While he is open to new ideas and innovations, he maintains his classic style, naturally inherited from his father which have made him one of the most respected barman in Italy today. www.harrysbarfirenze.com
JOURNALIST Elisa Scarton Detti
Elisa Scarton Detti is an Australian journalist who came to Tuscany for a year, fell in love, how cliché? And decided to stick around. Not one to keep paradisiacal holiday destinations to herself, she now writes a Tuscan travel blog and online travel guide about the infinitely beautiful Tuscan Maremma, so that others can get a taste of la dolce vita. www.maremma-tuscany.com
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Photo : Luciano Valentini - www.lucianovalentini.it
CELEBRATE TRADITIONAL SUMMER HOLIDAYS 2 JUNE - FESTA DELLA REPUBBLICA 24 JUNE - SAN GIOVANNI Patron Saint of Florence - TORNEO DEL CALCIO STORICO Piazza Santa Croce 2 JULY - PALIO DI SIENA 10 AUGUST - FESTA DI SAN LORENZO Piazza di San Lorenzo 15 AUGUST - FERRAGOSTO 16 AUGUST - PALIO DI SIENA
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Lungarno Francesco Ferrucci 9C Rosso Firenze, Italy 055.658 0313 www.bottegadipasticceria.it
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IO PARLO ITALIANO ENGLISH
ITALIAN
Summer - Estate Spiaggia - Beach Mare
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The Sea
Pudding - Budino Soccer/Kick -
Calcio
Historical - Storico Gambero - Prawn Cacciucco
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Fish Soup
Holiday - Vacanza
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Horse
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Cavallo
Paper
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Carta
Artisan
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Artigiano
Recipe
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Ricetta
Let’s Go
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Andiamo
Peach
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Pesca
Watermelon -
Cocomero
Island
Isola
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Lighthouse -
Faro
Spelt
Farro
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Beauty in the City
With more than 65 years of combined experience between them, Fabio Caciagli and Maria Rosaria Millarini are a proven winning combination whose central Florence salon, Wave has been transforming women and men since 1994. Their passion, creativity and professionalism helps women discover the latest hairstyle trends while also offering a complete service of hair, make-up and beauty treatments, respecting natural beauty and enhancing it with style, thanks to the use of natural products coming from the Ayurveda medical philosophy. Fabio began working at twelve years old in the salon where he used to go with his mother. He attended the school of Gabrio Staff, and after seven years, he opened his first salon with Rosaria in 1994. Rosaria has over 30 years of experience, starting at the school for hairdressers following her dream and great passion she had for the hairdressing craft since she was a child. She represents that generation of hairdressers who started practicing the profession very young.
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Together, Fabio and Rosaria have continued their training and research, visiting European and International cities in search of new trends. In 1997 Fabio joined the Sergio Valente’s Team, of which he is still a member, which allowed him to move around the world (USA, China, Japan, Roma Alta Moda, Milano Collezioni). Their Wave salon has been based in via Santo Spirito Florence for 11 years. This is the Oltrarno, the other side of the Arno river, historically known as the neighbourhood where artisans and their workshops could and can still be found. Recently referred to as the “Soho of Florence�, this laid-back street is hidden away from the busy city centre and offers a relaxing sanctuary where you can relax and feel pampered from the moment you walk in the door. Popular with local Florentines, Wave is also establishing quite a name and reputation among the travel set. To be able to visit a salon when in another country can be such a lovely experience, especially when all the staff are as welcoming and multi-lingual as those at Wave.
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Via S.Spirito, 27 50125 Firenze (FI) – Italy Tel: +39 055 265 4650 Fax: +39 055 267 8164 www.wavefirenze.it
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Andiamo al Mare
Tuscany’s Beach Culture & the Annual Migration
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he beach is probably not the first thing that springs to mind when you think of Tuscany but you may be surprised to know that there is a long history of beach culture in this very region that is more commonly known for its cypress trees and Chianti vino.
the beach seems quite absurd. I am a self-confessed convert and like nothing more than spending the day at a lovely beach club with all the comforts and facilities, especially as a mother. It really makes a day at the beach that much more enjoyable for all!
If you travel to Tuscany during the Summer months, especially in August you will probably find a lot less traffic on the city roads and quite a few shops closed with the all too familiar ‘Chiuso per Ferie’ sign on the front window.
You can either pay for a day visit, week, month or for the whole season which is usually from June to early September. Prices will range depending on where you are and if the bagno also has a private swimming pool.
Most of the locals are on their annual leave and have headed to the beach. For Italians, their Summer beach holiday is a sacred ritual that takes place each year. Some families have been going to the same beach club for generations and never consider another spot, others choose their location depending on whether they are a young couple or family. Each coast and bagno, or beach club has their pros and cons. Whether you prefer a wild and public beach or the luxury and comfort of a private beach club, options won’t be lacking when you are deciding where to spend your Tuscan beach holiday.
Most beach clubs will offer you a private cabina and shower where you can wash away the days salt, sweat and sand, get changed, go directly to your apertitivo and watch the sunset, conveniently provided in the bagno’s bar.
The private beach club, known quite simply as il Bagno (yes, it’s the same word for bath and bathroom) can seem quite foreign if you come from other countries where the idea of paying to go
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Regular visitors traveling from Milan and Florence favour the lidos of Forte dei Marmi and Viareggio. They don’t really offer the best beaches in terms of crystal clear turquoise water but you can find nice fine, sandy stretches. Forte dei Marmi is the most exclusive destination in Versilia. Here you can find all your designer brands, gorgeous restaurants and incredible properties. Viareggio still oozes the charm of her earlier years and the evening passeggiata is a must for people-watching while enjoying a gelato or maybe
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just sitting and enjoying an aperitivo. Neighbouring Pietrasanta (the historic centre not the Marina) which sits in the middle of the two is a charming small town favoured by artists and families due to its child-friendly piazza which is perfect for riding bikes and scooters while mum and dad sit at the nearby bar enjoying a drink. It is a truly beautiful place to stay. Other Italians prefer to head to southern Tuscany and anchor yachts at Porto Ercole, on the Argentario promontory. The heart of the Tuscan coast, called the Maremma, has beaches near the ancient fishing town of Castiglione della Pescaia and are a magnet for locals from Montalcino and Siena. Head further south to the Gulf of Baratti with its long sandy beach sheltered by the bay. The town above, Populonia, is home to some of the country’s finest Etruscan ruins. And don’t forget that Tuscany also has a few islands included within its borders! Take your pick from the Isola d’Elba or further south to the Isola del Giglio. A quick ferry trip from the mainland, both islands have incredible beaches and wonderful local seafood dishes that are definitely worth exploring. On the following pages, we take a closer look at some of these beautiful locations.
The long stretch of beach clubs along the Versilia coastline.
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MAREMMA E
ven if you’ve never been to Tuscany, you could probably describe its cypress tree covered hills and antique villas in an instant. The central Italian region is familiar, loveable and just a little bit nostalgic. It has been the destination for intrepid travellers since the dawn of time, and has remained on many a holiday wish list. But with so much to take in, it’s easy to fall into the trap of experiencing only Tuscany’s biggest and most famous cities. Florence is beautiful, Siena is effortlessly romantic and Pisa is breathtaking, but there is a whole other side of this region that embodies a simpler time. While tourists flock to the bright lights, Italians take their leave in the medieval towns and villages that are strewn across the Tuscan countryside. They explore the castles carved into rock by renaissance dukes, take a dip on the island where Napoleon Bonaparte spent his exile and enjoy a bite at a 100-years-old trattoria. Leaving the cities and heading further south into the fertile Fiora Valley is an almost therapeutic experience. The towns here sit on leafy hills; cut off from the great spans of countryside by ancient stonewalls and completely removed from the hassles of metropolitan life. The territory is known as the Maremma and the beautiful scenery and calm disposition of its locals make it perfect for a romantic getaway.
The Fiora Valley Manciano is the valley’s hub. A quaint little hilltop getaway, it takes advantage of its elevated position by having some of the best agriturismi in the territory. Part farm, part b&b, agriturismi are perfect for those looking to truly experience Tuscany and meet the people who call it home.
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While in Manciano, a visit to its 13th century castle is a must. From the tallest battlements you can see the rolling tides off Corsica, admire the lush hills covered in olive groves in the valley and peer down at the rooftops and bell towers of the other medieval towns. On a clear day, you can almost see Saturnia, 20 kilometres away. Less of a town and more of a living legend, Saturnia is, if you ask the locals, the mythical refuge of Saturn after he lost the throne of the Gods. In Saturnia the marks of the Etruscans, Romans, Aldobrandeschi, Orsini and Medici are still visible, not in museums, but in front of your eyes. In the town square lie the remains of a roman road, while a magnificent medieval castle looms over the streets, casting a shadow on the nearby stone-carved houses. The hot springs that surround Saturnia draw thousands of couples to the town each year for the outdoor baths, where temperatures reach a toasty 37 degrees. The springs also boast curative properties thanks to sulphur, the main mineral found in the waters. A short distance away, the Terme di Saturnia spa has swimming pools and artificial waterfalls that flow with warm water fresh from the source of the hot springs, conveniently located below them. A full day ticket costs about €25, but it’s worth it. A trip to the Fiora Valley isn’t complete without a stop in Sovana. There are few towns in the Maremma that have maintained both their history and original splendour like Sovana. The sand-coloured streets; well worn, but characteristic buildings and unassuming old town centre are simply beautiful and completely gimmick-free. Don’t miss nearby Montemerano either. The unassuming 15th century walls that surround this small town never betray the incredible charm that hides behind them.
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The Argentario Coast
Grosseto
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hen the Tuscan sun shines bright, the locals retreat to the seaside. Unknown to most, Tuscany has some of Italy’s best beaches and resorts, all located on the Argentario Coast, 45 kilometres from Manciano. Famous for its fishing and even more famous for its seafood, Porto Santo Stefano is the biggest port on the coastline. The countryside that surrounds the city is dotted with fortresses and towers built by the Spanish to keep an eye on their enemies. Beautifully conserved, these 15th century relics can be visited almost all year round. If you’re hankering for some island action on your holiday, take the very short ferry trip across to Giglio Is land. Giglio might be only 20 kilometres from Porto Santo Stefano, but it’s a world of its own with a culture and lifestyle that differs entirely from the mainland. After a quick meal at one of the cute cafes that line the port, hop on a bus or walk up to Giglio Castello. There you’ll find 28 kilometres of the most incredible beaches you’ll ever experience. If you can, spend the night on Giglio Island. Then, in the morning, catch another ferry to Giannutri Island. No one has lived on Giannutri since the Romans abandoned it, and the island has been allowed to blossom into a nature reserve complete with pristine beaches and roman relics.
holiday in Tuscany wouldn’t be the same without a stop at the beautiful Renaissance city Grosseto. The capital of the Maremma, Grosseto has spent centuries reconciling with its image as both the cultural playground of the Medici family and the last outpost of the quiet and laidback Tuscan countryside. Its town centre is made up of one main street, lined with the most elegant-looking shops, many hidden inside medieval palazzos. At the end of this strip is Piazza Dante – Grosseto’s heart, where the true shopaholic can indulge. Make sure you take a break at one of the indescribably good pizzerias that line the main street. With a thin crust and minimal toppings, these pizzas are nothing like the ones at home, especially the divine nutella and mascarpone dessert pizza. And that’s only the beginning. Those who know little about Grosseto visit the city, savour the ancient buildings and modern, yet relaxed lifestyle of the Grossetani. But those who truly experience Grosseto don’t keep to the city centre, they visit the winding alleys where the locals mix with a surprisingly strong Asian community and go further still, to the deserted beaches and oak- filled forests of the Parco Regionale della Maremma. Stretched over limitless space, the Parco Regionale Della Maremma reserve is literally an oasis. Holidayers with a sense of adventure can spend hours exploring the park’s kilometres of walking tracks and the odd ruined medieval castle before finding themselves at the feet of a deserted and pebble-strewn beach. From here the sun setting over the shores of the Tyrrhenian Sea is breathtaking and, if you look far enough, you can just see the outline of Elba Island, where napoleon Bonaparte was exiled after his forced abdication in 1814. www.maremma-tuscany.com
“The Maremma is full of the picturesque and beautiful; a beauty peculiar and somewhat savage, it is true, like that of an Indian maiden, yet fascinating in its wild unschooled luxuriance.” Victorian Explorer George Dennis, 1832
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TUSCAN SOUL FOOD Maremman food isn’t like anything you’d get in Florence or Pisa. Sure it’s bound by the same intrinsic rules: fresh is best and seasonal is law, but Maremman food is Tuscany’s soul food. At breakfast, the Maremmani feast on sweet pastries, filled with custard and washed down with bitter espressos. At lunch they fill up on rustic stews and pastas dripping with ragu sauce. At dinner, they make up for their gluttony by nibbling at thickly sliced goat’s cheese and home-cured prosciutto.
DON’T GO HOME BEFORE YOU’VE TRIED:
The Maremmani make their meals from the produce they grow themselves and the ingredients they buy from their neighbours. Whatever the season, a Maremman dinner table is packed with vegetables and usually plenty of game: wild boar, pheasant, hare, you name it and they can catch it. Every dish has a central ingredient that is emphasised, but never overwhelmed by the other ingredients, and whatever they cook, it’s always simple and plentiful. You’ll never go hungry at a Maremman table.
Pitigliano’s Goym (Jewish-Italian fusion) cuisine.
The Maremmani are divided by the dishes that define their hometown and therefore themselves. Every Maremman mamma makes her brodo (stock) differently, uses more or less eggs in her tortellini pasta, fries her ciaffagnoni pancakes for a few minutes longer. To the Mancianesi, home is acquacotta soup overflowing with vegetables and plenty of bread to sop up the juices. In Monte Amiata, it’s a slow-roasted cinghiale in umido (braised wild boar). On the Argentario Coast, you can’t celebrate without pagnottelle, sweet biscuits flavoured with different nuts and liquors.
Pecorino is a crumbly and creamy cheese that goes well with honey and walnuts.
Guttus is the Maremma’s stronger and spicier version of blue cheese.
Sfratto is a wine-scented biscuit that’s become the symbol of Bottarga is ‘poor man’s caviar’ in Orbetello, a cured mullet roe pouch handed down by the Spanish in the 16th century.
Castagne are Monte Amiata’s chestnuts, sort-after through-
out Italy. Boil them until soft in red wine and sugar for a sweet after-dinner treat.
Porcini are picked from Monte Amiata’s forests for a few short weeks in autumn.
Lardo is fat from the belly of the pig, which is salt-cured and
mixed with spices and herbs. It isn’t exclusively Maremman, but it’s too good not to mention.
Vacca Maremmana is the Maremma’s own breed of cat-
tle and has gamey and flavourful meat that comes from being reared in the wild. Excerpt From: Elisa Scarton Detti. “Travel Guide to Maremma Tuscany.” Amazon & iBooks.
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L’ISOLA D’ELBA Many people don’t associate the island lifestyle with Tuscany but we are in fact very close to some beautiful islands with crystal clear turquoise water, fine golden sand and magnificent views. If you have the time during your visit, I highly recommend you explore the islands of Tuscany.
My first visit to Elba was during the busy month of August in 2009. We stayed with our wonderful friends, Gabriele and Jeanette in the town of Lacona, where Gabriele’s family, the Rotellinis have owned the Valle Santa Maria Campeggio or camp-ground as we might call it since 1968.
Elba is the largest island of the Tuscan Archipelago and the third largest island in Italy after Sicily and Sardinia. It is located between the Tyrrhenian and Ligurian Sea and 20 km from the coastal town of Piombino where we board our ferry for the hour long voyage to the island. (Piombino is about an hour and a half drive from Florence). The ferries run much more frequently in the Summer months and are also more expensive. I love the excitement and anticipation as we line our car up in the queue to board the ferry. Not so much the feeling when it’s time to return home! The two most popular companies are Moby and Torremar and their websites have a detailed time-table with the various prices depending on whether you are taking a vehicle on board or are on foot. Make sure you book early in the high season, especially on the weekends as these times are the first to get booked.
The Valle Santa Maria Campeggio is located in the beautiful bay of Lacona and the property backs right onto the beach so you can hear the waves lapping at the shore as you drift off to sleep each night. This is camping in luxury style. You can choose to bring your tent, caravan or campervan, or if you prefer, rent one of the fourteen apartments on their property. The showers, toilets and area to wash your dishes at the campground are not only private but also immaculately clean and the whole property is maintained to a very high standard. They were also the first camp-ground on the island to receive the Ecolabel, which recognises eco-friendly quality and standards for Europe. Beautiful gum trees are scattered throughout the camp grounds and there is even a bar and restaurant situated directly on the beach. The beach of Lacona is very family friendly with calm and clear water. At the far
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sides of the bay, are rocks perfect for snorkeling or you can rent a pedalo or canoe. The island is divided into eight municipalities, of which Portoferraio is the main one. The others; Campo nell’Elba, Capoliveri, Marciana, Marciana Marina, Porto Azzuro, Rio Marina and Rio nell’Elba, are part of the province of Livorno. with a total of about 30,000 inhabitants, which increases considerably during the summer. Be prepared to find traffic jams and difficulty finding parking if you arrive at the beach too late in the morning.
difficult to find parking. It can also be very difficult to find a reservation in the more popular restaurants so this is another reason to avoid the peak tourist season here. Elba has some wonderful restaurants and as you can imagine, incredible seafood. Some favourite restaurants are La Taverna dei Poeti at Capoliveri and La Caletta at Porto Azzuro where you can arrive by boat if you like.
One of my favorite beaches at Elba was Fetovaia and this is perfect for couples wanting a romantic getaway or for those that prefer the private ‘bagno’ beach club experience with deck chairs, sun beds and umbrellas available for rent. We paid 25 euro each for the day and had lunch at the local restaurant, Babatoja which was just behind the beach where we ate the best fritto misto (fried mixed seafood) that I have ever tasted! In the evening many people head to the piazza of Capoliveri and in August, the busiest month of the year, it can be
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L’ISOLA DEL GIGLIO The Island of Giglio, located in front of Monte Argentario in the Tuscan Archipelago, is probably most popular for its enchanting beaches, coves and cliffs. The largest and most romantic beach is that of Campese, characterized by a dark, rusty red sand. It is framed, on the south side, by a legendary lighthouse and, on the north side, by a Medici tower, built in the 16th century by Cosimo I de ‘Medici. The small Caldane beach, reachable through a winding path, is wild and wonderful, bathed by an unforgettable emerald-colored sea. The Cala delle Cannelle is characterized by very shallow waters, white sand and transparent waters, which give the area an almost tropical
atmosphere. Similar, but slightly more rocky, is the Arenella beach, highly recommended for snorkeling. To fully enjoy the breathtaking beauty of the coastline of the island, hire a boat, or use the convenient taxi boat services. In this way you will discover many beautiful coves, difficult to reach by land, where you can enjoy private moments, far from the most crowded beaches. Cala dell’Allume and Cala del Corvo are among the standout stops, standing out with their colorful seabeds that are perfect for snorkeling. You can reach these beaches via marked trails, but by boat, visitors will have a truly spectacular experienceThe village of Giglio Porto is located in front of the
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Tuscan coast. Its waters are splendid, as in the rest of the island and its village is very characteristic. Its center is located in the picturesque Piazza Dogana. Walking through the narrow streets of the harbor or on the scenic promenade, you will see the modern Church of Saints Lorenzo and Mamiliano, dating back to the last century, the Torre del Saraceno, so named for the attacks suffered by the Saracen pirates who tried to claim the island between the XV and 16th century and the Torre del Lazzaretto, which, built by Cosimo I de ‘Medici at the end of the sixteenth century, was used as a structure to quarantine the sick. There are also interesting ruins of Ancient Rome. One of the most romantic things to do on Giglio Island is a tour of the lighthouses. The Capel Rosso lighthouse is one of the most beautiful and is located at its extreme south, near Punta di Capel Rosso. Built in 1883 by the Navy, the rectangular-shaped building has white and red stripes, with a tall white octagonal tower. Thanks to Paolo Sorrentino, who immortalized it in his Oscar-winning film La grande bellezza, it has become one of the most famous lighthouses in the country. The Fernaio Lighthouse, situated, instead, in the extreme north of the island was also built in 1883. Inaugurated in 1865, it was not very functional due to its position, but today it preserves a particular and unmissable beauty, embraced by picturesque paths and lush, fragrant nature. The red and green colored lighthouses that are found in the area of the port and that welcome or greet the ferries and boats of the Argentario-Isola del Giglio section are also characteristic of the island, framed by the blue, turquoise and emerald of the crystal clear waters.
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PIETRASANTA
‘Little Athens’ on the Tuscan Coast
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he town of Pietrasanta on the Versilia coast is a personal favourite of mine and it’s all thanks to my sister Toni, who first moved there in 1998, making it her home for the next 15 years. I would travel there as often as possible to enjoy the Summer months in this gorgeous town and its nearby beach clubs. The town has changed a lot in the last twenty years, mainly due to increased tourism as more people have discovered this Tuscan jewel. Not to be confused with Marina di Pietrasanta which is the neighboring town on the water’s edge, Pietrasanta is the historical center and lies about 3km inland on the last foothills of the Apuan Alps. The town has always been popular for sculptors and painters and has become a gathering place for artists from all over the world, mostly due to it’s location so close to the marble quarries of Carrara. As you walk around the town, you can admire contemporary art and sculpture artworks in the many galleries scattered along the streets and there is usually a major exhibition taking place in the main Piazza Duomo. Pietrasanta holds a gorgeous Antique market the first Sunday of every month that is definitely worth a visit while ‘market-day’ is Thursdays. I love wandering around the streets that surround the center admiring the gorgeous boutiques. Remember that most of them follow the traditional trading hours and close from 1pm – 4pm and then close again at 8pm. During the Summer months however, the shops open in the evening until around midnight. There are also some great bars perfect for people-watching while enjoying an aperitivo. While this city is a fascinating place to visit any time of the year, in Summer it really comes alive, particularly in the evenings. It’s the perfect place for the family - our kids have always loved riding their bikes in the car-free piazza allowing us to relax over our morning cappuccino or evening aperitivo! The nearby Apuan Alps will remind you of the ancient roots tied to marble working (and later bronze), a centuries-old tradition in this city. The city has earned itself the nickname ‘Piccolo Attena’ / ‘Little Athens’ thanks to the concentration of artists that have decided to settle down here over the years, one of the most well-known being Fernando Botero. You can’t help but admire the church that overlooks the beautiful Piazza Duomo. The Cathedral of San Martino, conserves
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prestigious artworks and its stunning bell-tower, conceals a fascinating twisting staircase that runs from top to bottom. In the same Piazza Duomo you can find the deconsecrated church of Sant’Agostino, which has a magnificent cloister and Baroque bell tower as well as a sculpture of the Annunciation by renowned artist Mitoraj. In the upper left corner of the piazza is the Teatro Comunale which is a working cinema that shows the latest movies. HISTORY The medieval town was founded in 1255 upon the pre-existing “Rocca di Sala” fortress of the Lombards by Luca Guiscardo da Pietrasanta, from whom it got its name. At its height, Pietrasanta was a part of the Republic of Genoa (1316–1328). The town is first mentioned in 1331 in records of Genoa, when it became a part of Lucca along with the river port of Motrone, and was held until 1430. At that time it passed back to Genoa until 1484, when it was annexed to the Medici held seigniory of Florence. In 1494, Charles VIII of France took control of the town. It remained a Luccan town again until Pope Leo X, a member of the Medici family, gave Pietrasanta back to his family. The town then suffered a long period of decline during the 17th and 18th centuries, partially due to malaria. Then In 1841, Grand Duke Leopold II of Tuscany promoted several reconstruction projects (including the building of schools specially created to teach carving skills, and the reopening of the once famous quarries). The town then became the capital of the Capitanato di Pietrasanta, which included the towns of Forte dei Marmi, Seravezza and Stazzema (this region became the historical heart of Versilia). The town joined the newly unified Italian Kingdom in 1861. The area, like most of Tuscany in general, has long enjoyed the patronage of artists and Michelangelo himself was the first sculptor to recognize the beauty of the local stone. Mainly due to its connection with marble, Pietrasanta grew to importance during the 15th century. As you look up towards the mountains from the Piazza del Duomo, you can admire part of the original Roman wall which still exists today.
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This page and previosu pages : Piazza Duomo, Pietrasanta
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The working cinema of Pietrasanta & facing page , the local hairdresser.
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FORTE DEI MARMI Known as the most exclusive and luxury resort town on the Versilia coast, Forte dei Marmi is the destination of choice of many Italian and International celebrities, politicians and football stars. A one hour drive from Florence, Forte dei Marmi is the weekend and Summer get-away of many, but it is more famous for the luxury shopping and beach-clubs than for its seven miles of actual beaches. Forte dei Marmi literally translated means The Marble Fort and takes its name from the fort built in the city center in 1700 as well as from the valuable white Cararra marble extracted a few miles from the town and famous all over the world for its incredible quality. It is also known as the white gold of Versilia. It was 1518 when the Medici Family forced Michelangelo Buonarroti to leave the nearby quarries of Carrara to move to new ones on the Monte Altissimo over the village of Seravezza. He then built the main road that crosses the village, called
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Via del Marmo, to carry the precious heavy blocks of white marble from the quarries to the sea. It wasn’t until the late 1800s, that Forte dei Marmi became one of the most requested summer holiday destinations by aristocracy, diplomacy, and businessmen. The town is also very popular for its shopping; high-fashion boutique of labels such as Tods, Cavalli, Moncler, Scervino, Louis Vuitton, Prada and Versace to name a few, line the streets and are open until very late at night during the high summer season. Forte dei Marmi is also home to excellent restaurants and a very social nightlife with exclusive bars and nightclubs such as the famous “La Capannina” open since 1929 and Twiga, which doubles as a luxury ‘bagno’ or beach-club by day. Another popular shopping destination is the Forte dei Market held in Piazza Guglielmo Marconi every Wednesday and Sunday morning during summer. Here you can find last season clothes, shoes and also homewares at discounted prices. Get here early before the crowds and heat arrives.
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Palazzo Pucci is transformed for the official launch of the book, “Unexpected Pucci”. Photo Lapo Quagli.
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Emilio Pucci presents Unexpected Pucci The Florentine fashion house reveals a new publication, curated by Laudomia Pucci and published by Rizzoli New York, which tells about the brand universe beyond fashion: design, art, furniture and lifestyle.
“Unexpected Pucci” is the new book narrating the world of Emilio Pucci, beyond fashion. Published by Rizzoli New York and curated by Laudomia Pucci, the book presents key projects explored in the field of interior design and art from the 1960s to present. With the introduction signed by the Editor of Vogue International, Suzy Menkes and also including valuable contributions by independent journalist Angelo Flaccavento, architect and designer Piero Lissoni and artists Francesco Vezzoli and Joana Vasconcelos, this is the fashion book that anyone who appreciates the talents of Emilio Pucci will want sitting on their coffee table. The brand’s artistic journey, from Mediterranean colours and silk scarves to ground-breaking partnerships with international leaders of art and design, is told through chapters covering rugs, porcelains, art and collaborations. The book tells the story of an archive treasure rediscovered. The Pucci rugs, first launched at the Museum of Decorative Arts, Buenos Aires in 1970 have been reissued in the brand’s historic prints (Ovali, Occhi, Giardino, Lamborghini, Menelik and Hawaii) available through a bespoke service at the Emilio Pucci Heritage Hub.
A dedicated chapter to chinaware, includes masterpieces made in collaboration with Rosenthal, where iconic prints (including the “unexpected” Pebble motif) adorn coffee and tea sets, vases and plates. The final chapter of the book chronicles the brand’s collaborations and partnerships with leading brands of homeware and interior design. Emilio Pucci turned prints into handmade decorative panels for interiors and swimming pools with Bisazza, unique seating solutions have been produced with Cappellini, including the Rive Droite armchair designed by Patrick Norguet, and the poolside collection by Piero Lissoni. With Kartell, the Florentine brand in 2014 launched the iconic Madame chair, designed by Philippe Starck and in 2016, the patterns from the Pucci’s project “Cities of The World” embellished the cups designed by Matteo Thun in 1991 for Illy. To celebrate the launch of the book, an installation has been set up in Palazzo Pucci – also known as the Emilio Pucci Heritage Hub (via de’ Pucci 6, Florence), – where key elements from the book are exhibited in a labyrinth inspired by the graphic and unexpected Torre print. Key highlights will include, chinaware, rugs and never-before exhibited artworks inspired by the founder Emilio Pucci.
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S
tep into any Pucci store and the first thing that will capture your attention is the bright kaleidoscope pop of colour that not only hangs from the racks but also adorns the walls and carpets. Welcome to the world of Emilio Pucci, who founded his fashion house in 1947 before going on to achieve international acclaim with the glamorous post-war jet-set. His designs are still as popular today as they were in the 50’s, as his creations, while being classics are also still fashionable whether you are wearing vintage pieces or the latest season. Born in Naples, into an aristocratic family, was the Marchese di Barsento. He would go on to call Florence his home but before Pucci entered the world of fashion, he was an air force pilot and an Olympic skier in 1934. An avid and accomplished athlete, he also raced cars, excelled in swimming, tennis and fencing. It was in Zermatt while giving ski lessons that he designed a streamlined ski outfit, that was photographed and then published in Harper’s Bazaar USA. This was to be the start of his new career and the start of the Pucci brand as Buyers, Editors and customers showed so much interest in his new and innovative designs. Even though his forte, in the beginning, was sports clothes, he soon moved into other fashions. While he never considered himself a designer, it was Emilio’s sports connection that gave him an understanding of movement, comfort and the belief that clothes must move with the body. His desire was to give women this same freedom of movement in their everyday clothing, and he succeeded in designing clothing that gave women an elegance and sophisticated style while flattering the feminine curves.
“His designs featured sensual, free-flowing lines that followed the natural curves of the body - effortlessly elegant clothing which took women from day to evening...” Stretch fabrics had been developed before the war but Emilio Pucci became famous for his intuition and vision with textiles. His stretch silk and cotton jersey garments were lightweight and women everywhere fell in love with his liberating clothing. His sleek designs were also wrinkle proof which made them the perfect travel attire for the new generation of modern women who fell in love with the elegant, stylish and incredibly comfortable garments. Emilio also worked with chemists to produce around two hundred new colours which at the time did not even exist. Bold,
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vivid colours, that together created his signature graphic and abstract prints. He was inspired by the exotic locations he travelled to like Bali and Africa as well as the natural landscapes of Italy and the vivid blues of the Mediterranean. He was a true pioneer in the world of fashion and the International press crowned him “The Prince of Prints”. In 1949, proving once again that he was ahead of his time, he produced a new collection of resort wear - before the concept of ‘Resort’ even existed. At that time, it was called ‘Boutique fashion’. He then moved onto his brightly patterned silk scarves which were sold in his first boutique located in the fashionable resort of Canzone del Mare on the Isle of Capri, a location symbolic with ‘La Dolce Vita’ since the 1950’s. By the 1960’s, Pucci was given added status when Marilyn Monroe became a fan of Pucci’s solid coloured garments and as the decades passed, a dress in the distinctively patterned Pucci print, which used as many as sixteen colours in a single design, was the uniform of fashionable women everywhere in the world. Sophia Loren, Elizabeth Taylor, Lauren Bacall, Gina Lollobrigida and Jacqueline Kennedy Onassis were just some of the iconic women who wore and were photographed in Pucci designs. And again in the early 1990s pop icons such as Madonna were also fans of the brand. At the peak of his career, Emilio’s distinctive prints, a mixture of geometric and art-nouveau designs could be found in towels, wall coverings, jewellery, glasses and he even designed six complete collections of airline uniforms for Braniff Airways between 1965 and 1974, the logo for a space mission, and a luxury car. Emilio Pucci’s beloved city of Florence has also featured in his designs and the terracotta rooftops of Palazzo Pucci have made the perfect stage for many of his photo-shoots. Who could blame him when the magnificent Duomo sits as a backdrop! One of Pucci’s most well-known scarf designs from 1957 is the ‘Battistero’ design. Featuring a view of Piazza San Giovanni, the Baptistery and Giotto’s Bell-tower illustrated in gelato shades of orange, yellow and fuchsia. I personally will never forget when the Bapistry was actually ‘wrapped’ in a replica of this design during Pitti Immagine 2014. The artwork, called Monumental Pucci was made to celebrate the 60th Anniversary of Firenze: Hometown of Fashion. After his passing in 1991, Emilio’s daughter, Laudomia Pucci, began to take over her father’s business. In April 2000, 67% of the company was acquired by the French luxury group LVMH, In a short time the brand has soared once again on the international fashion stage.
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Emilio Pucci sketching at the Canzone del Mare Beach in Capri, 1952. Photo © Emilio Pucci Archive, Florence.
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Photos this page Lapo Quagli.
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Wool rug featuring GIARDINO motif. photo Lapo Quagli.
Wool rug featuring “Lamborghini” motif. photo Lapo Quagli.
The “Madame” chair designed by Philippe Starck for Kartell. Upholstered with Emilio Pucci “Shangai” and “Avenue Montaigne” prints from the “Cities of the World” collection. Photo Lapo Quagli.
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GIULIO GIANNINI & FIGLIO - A Timeline
Artistic book binding and hand decorated paper since 1856
1856 - PIETRO GIANNINI Giulio Giannini e Figlio was established by Pietro Giannini (1811 – 1882), in piazza Pitti in 1856, still the premises of the firm today. Although the store specialized in stationary, Pietro Giannini would receive commissions from customers to craft high quality bookbinding. 1878 - THE “BOTTEGA” Guido Sr. (1853 – 1931) radically transformed the business by concentrating exclusively on artistic bookbinding and the production of leather objects. During this period, which coincided with the Victorian era, Florence was home to a large English community characterized by wealth and a love for the fine arts and craftsmanship. Giulio Giannini’s workshop and shop attracted a large and faithful clientele, and above all thanks to two of the firm’s signature products—the photo album and the guest book. 1888 - THE FLORENTINE STYLE IN THE BOOKBINDING Parchment bookbinding exquisitely decorated with gold leaf stenciling, colorful leather insets and hand-painted tempera set a new standard in bookbinding, known as the “Florentine style,” marking a new epoch. For his abilities, Guido Sr. was known in artisan community as “the king of gold leaf.” 1890 - GUIDO GIANNINI Giulio’s son Guido Giannini Sr. (1877 – 1956), incorporated today’s firm “Giulio Giannini e Figlio.” Continuing his father’s master craftsmanship, Guido Sr. conducted in-depth research of the art of antique book-
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binding. He succeeded in reconstructing 14th and 15th styles still visible in period paintings and drawings since many of the original volumes have been lost. Guido Sr. was also the author of numerous articles on bookbinding and the art of printing, which appeared in important magazines and encyclopedias as well as the publisher of specialized limited editions. 1890 - BRONZE STAMPS COLLECTION Because he dedicated his time to reproductions of bookbinding in diverse styles, Guido Sr. commissioned bronze stamps in various designs. Today, this collection comprises more than 1000 designs, presenting a spectrum of a variety of styles from different periods to work with. 1904 - THE FLORENTINE STYLE ON PAPER Guido Sr., influenced by the popular English style of period he lived in, faithfully reproduced embellishments and miniature decorations from ancient manuscripts on books, note cards and other items by hand, which led to the mass production and commercialization of the so-called “Florentine style.” 1929 - THE PEASANT ART IN ITALY Guido Sr.’s eclectic activity extended to wood block printing of original Italian folk art motifs on paper. When leather became expensive after the First World War, he started producing a series of objects covered with decorated paper, a less refined choice yet equally original and of high quality. 1940 - GIULIO GIANNINI Jr. Guido Sr.’s son, Giulio Giannini Jr.
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(1901 – 1992) was a book illustrator and an artist in addition to a master bookbinder. Utilizing the difficult technique of leather insets (swatches of different colored leather creating a mosaic effect), his most well known bookbinding works were done in the “symbolic” style, with figurative decorations on the cover reflecting the book’s contents. These works became part of numerous public and private collections. At the same time, Giulio Jr. expanded the sales and marketing of the firm’s handmade products, which were sold in Italy and exported abroad. 1970 - THE 5th GENERATION The dawn of the ‘60s witnessed the arrival of a new generation in the Giannini workshop: first Enrico (1942) and then Guido Jr. (1951) joined their father. While both are as equally skilled in techniques and styles of classic decoration as Giulio Jr., each brought a distinctive personal touch. Enrico prefers to experiment with marbled paper methods and materials to create new products marketed in Italy and abroad. Guido Jr. researches time-honored patterns and styles that serve as a source of inspiration in the production limited series of paperbound editions that also utilizes recycled materials. TODAY - GUIDO Jr GIANNINI e MARIA GIANNINI Giulio Giannini e Figlio is carried forward today by fifth generation family member Guido Jr, and Maria Giannini (sixth generation). They have further developed the production of marbled paper, which is used to cover objects, and part of the firm’s historic inventory. The methods used in leather and paper workmanship continue to be traditional, and the materials selected are always of the finest quality.
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remember one of the first things I bought when I came to Florence was a set of writing stationary decorated with a marbled border around each page and envelope. This was when we still sent hand-written letters and even though this practice seems to sadly be losing its popularity, one artisan craft that has survived and stood the test of time in Florence is the beautiful art of marbled paper. Marbled paper probably originated in China as the technique, brought to Europe through Venice by the Arabs, is achieved by a 1,000-year-old Oriental technique. Seaweed is the crucial ingredient – it is boiled and filtered to produce a gelatin broth, upon which are splattered water-based colours. The composition of the gelatin ensures that each colour floats on the surface, retaining its own form without mixing with the other colours. Antique wooden and metal tools spread or swirl the colours into their marble designs before a piece of paper is carefully placed into the basin containing enough glue to ensure proper absorption of the colours. When the pattern adheres to paper, the sheet is immediately removed and hung to dry. It takes years of practice to master the art of making beautiful designs and considering only one sheet can be made at a time, each end result is unique. The competition, even in Florence often use chemical dyes and oil to create the swirling, rhythmic patterns and while it’s easier to use oil rather than water as a blender, oil tends to fuse and muddy rather than clarify the colours.
A similar paper-art called Suminagashi has existed since the 12th century in Japan and marbled paper-making flourished in Turkey in the 15th Century. Known as Ebru or the art of the clouds for its pastel and abstract design, it was reserved for religious writings and was, in fact, sacred. It was made throughout Europe even in the 19th century, but today the art of marble papermaking survives almost exclusively in Florence. Located in Piazza Pitti since 1856, Giulio Giannini & Figlio is one artisan’s workshop that continues the hand-making of this ancient craft today. It was in this workshop in 1856 that Pietro Giannini, the owner of a modest Stationary shop expanded his craft to include leather bookbinding, which would eventually lead to the company’s trademark production of marbled paper. Giannini was first a bookbinder that catered to the large foreign literary colony that reigned over 19th-century Florence. Elizabeth Barrett Browning, for one, had her ‘’Sonnets From the Portuguese’’ and ‘’Casa Guidi Windows’’ published in later editions by Giannini. In the early ’70s, the Giannini family were the first to cover desk objects with marbled paper and the three most popular designs are peacock’s tail, combed or marbled. Today Guido & Maria offer demonstrations and workshops where you can learn the art of Carta Marmorizzata and take home your own creation. Nothing is lighter or easier to take home than a sheet of handmade paper and no souvenir is quite as authentic or traditional than an original item from the oldest marble paper-making store in Florence!
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Terracotta
di Massimo Carbone ARTIGIANO TERRECOTTE ARTIGIANO
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ne can’t help but notice the abundance of terracotta in Tuscany and the two kind of go hand-in-hand. You can’t picture any Tuscan town without seeing shades of terracotta in your mind. The word terracotta is used to define objects obtained by the drying and baking of moulded clay and literally translated, means ‘bakedearth’. The town of Impruneta, located just fifteen kilometres from Florence is most famous for the distinctive terracotta that comes from the earth surrounding the town. The terracotta from this region is an important part of Imprunetas heritage and its cultural identity. The terracotta from Impruneta dates back to the first Etruscan settlements and during the Renaissance, many artists used terracotta products originated from Impruneta. The great protagonists of the 15th Century who used the terracotta from Impruneta were sculptors like Lorenzo Ghiberti, Donatello and Luca della Robbia. Filippo Brunelleschi was the first architect to commission adornments in terracotta to enhance the structure of his buildings, the most famous of these being the Florence Duomo which has its cupola (dome) covered in terracotta tiles from Impruneta. Over the following centuries, as a result of this great and prosperous era, the art of terracotta has been passed down through workshops so that now, terracotta-red has become the predominant colour of most Tuscan cities. Terracotta found in Impruneta is unique because of the special chemical composition of the clay found only in this territory. The raw material, once processed and fired, has an extraordinarily high resistance against all weather conditions, from freezing temperatures to the hottest sun. Due to its thermal insulation abilities, man has used terracotta for the storage and transport of wine since the first Greek settlements in Italy as it was the perfect element for the preservation of wine. Until a few decades ago, the cellars of Tuscan farms would be full of large terracotta jars, made in the kilns of Impruneta and used for storing olive oil. Beautifully handcrafted vases and pots made in ‘Cotto’ from Impruneta have been found in many Tuscan gardens and noble Florentine residences for hundreds of years and terracotta still plays an active and vital role in Impruneta today. In 1308, a guild of Impruneta kilnsmen was founded and these masters of terracotta; known locally as orciolai & mezzinai (potters and makers of earthen jugs) were united in a single corporation which had the duty of protecting and regulating the production and the quality of an already thriving handicraft. Since then, the production of terracotta has continued over the centuries and even with the advent of new technology, the artisans of this region still follow the traditional hand manufacturing techniques when making their pots. A few years ago, the terracotta from Impruneta received an official ‘Mark of Protection’ from the local council. Over the years the Impruneta name has been misused by many whose products were not authentic and original and so the CAT (Ceramiche Artistiche e Tradizionali) stamp on recognised artisanal products will offer a similar guarantee as the DOCG and IGP certifications on wine and food
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products. There are only six terracotta companies in Impruneta who have been honoured with the CAT stamp, one of whom is La Fornace Massimo Carbone whom I had the pleasure of visiting and watching Massimo at work. Massimo Carbone has been personally working with clay for twenty-fiveyears. Watching him skilfully form an ‘orcio’ (large pot used to store wine), he makes the job seem relatively easy and fast but his years of experience also help him to know when the clay is too wet or too dry and depending on the seasons, how long a piece will take to dry before going into the kiln. The large terracotta orcio pots that are one of the most common items you will see, are made by first forming the base or fondatura. Care must be taken to ensure that all the air-bubbles are removed otherwise they will cause breakage during the firing stage. These large pots are made entirely by hand! No machinery or molds are used at all which makes one appreciate the skill that goes into creating something so large and perfectly proportioned. After the base has been formed, long ‘sausage-like’ rolls of clay called a lucignolo are attached to the edge of the pot by being expertly pinched and pressed down by the ‘potter’ as he moves around the vessel. This ancient technique is called the Colombino. Only 25-30cm of height can be added each day so as to allow time for each section to dry properly and to ensure that it doesn’t collapse under its own weight. The internal and external sides are then smoothed out, all the while making sure that the thickness of all sides remains the same. The diameter and height is checked constantly during the process too but a lot of this measuring work is left to the expert eye of Massimo. The orcio gets its traditional shape by the forming of the cupola or dome which is made by adding only one lucignolo each day. The final border is added to the top and smoothed out with a wet sponge. As you can imagine, many days are needed to complete one of these large urns which also explains the high cost of an original pot. Personalised Orcios are often ordered as wedding gifts with the bride and grooms name together with their wedding date engraved into the clay. When the orcio is complete, it is left to dry for as long as four to six weeks, depending on the season. Normal vases take up to three weeks. As the clay dries, the colour changes from a dark grey to a much lighter shade of grey and the pots also shrink in size. Once completely dry, the pots go into huge kilns and will be fired at a temperature of around 1000 degrees Celsius! I was surprised to learn that the large orcios or wine urns take a week to be fired so the kiln is kept burning for the whole time! Once the pots have cooled down which can take another two days, the pots are removed and soaked with water until it is all absorbed. This is a crucial stage as it sets the clay - without this watering, the clay would crumble and lose all of it’s strength and stability. You really can’t help but appreciate the hard-work tradition and beauty of terracotta. An artisan craft that will never date!
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Equestrian
Luxury in Val D'orcia words by Lisa Brancatisano
The Val d’Orcia has arguably one of the most beautiful and most photographed landscapes in all of Tuscany. Well it does have a UNESCO World Heritage listing so what else would you expect? Combine that with a day-spa, excellent restaurant, luxury accommodation and horse-riding and you’ve got an equestrian resort called Tuscany Equestrian, which is my idea of heaven. We arrived at the stunning equestrian resort on a rainy April day and even though the sun wasn’t shining, the drive onto the property fulfilled all of our expectations for our weekend ahead. The next morning we were greeted with glorious sunshine and the true beauty of this property was laid out before us.
“When it came to decide where to build Tuscany Equestrian, no other place seemed as fit to this purpose as the unique and charming Val d’Orcia.” Tuscany Equestrian was created by Giancluca Magri, an entrepreneur who made an important life choice for his family and the environment. He gave up his business in the single-use plastic industry to pursue a more fulfilling life, a journey which stemmed from the love for his daughter and her love for horses. His love for also nature and the outdoors led him to Tuscany where he found an overgrown piece of land in Val d’Orcia which he transformed, creating a place where people with a passion for horses and equitation could experience a unique holiday with their horses. After a delicious breakfast in the dining room overlooking the property, we walked through to the modern and pristine connecting stables, to meet some of their very happy horses and ponies. Even the horses live in luxury and comfort here, with organic bedding and the best hypo-allergenic feeds. Here you can keep your own horse on the property, learn horsemanship and improve your riding skills or just enjoy a relaxing ride on the property accompanied by their fully certified instructors. The riding school is a space dedicated to all ages and levels of equitation, from advanced riders to those just beginning. There is a round-pen and a large riding arena with jumping
equipment but with the breathtaking almost 360° views of the Val d’Orcia surrounding you, it may be difficult to concentrate on your lessons. I opted for a casual trail ride which gave me the opportunity to admire the property on horseback, while also appreciating how much the property had been transformed as we rode through some of the natural bushland. The entrepreneurial spirit of Gianluca Magri didn’t just stop at the equestrian resort, he also took advantage of the lands’ altitude, fertile soils and original olive trees growing on the property, planting an additional 5000 trees of various olive varieties such as Leccino, Frantoio, Maurino, Leccio del Corno e Pendolino. In a second phase, another 7,000 olive trees were planted and now their own prized organic extra virgin olive oil, called quite simply ‘Famiglia Magri’ is in full production. After a day of riding, you can relax by the pool, go to the spa and enjoy a sauna, one of the many Ayurvedic beauty treatments or a massage. There are various apartment options at Tuscany Equestrian property. Here you will find beautiful themed rooms (named after horse breeds) or you can choose a single farmhouse or the entire estate for an incredible family or group holiday. The last but certainly not least impressive aspect of this resort is the restaurant, ‘Extravergine’. From the healthy and abundant breakfast, to lunch and dinner, their concept is one of sustainability, having km 0 and using only organic primary ingredients inherited from the Tuscan tradition of following the seasons.
“Our restaurant wants to transmit the best values of this land together with tradition and an athome welcome feeling.” It’s hard to believe this property was only built two years ago! Every last detail has been considered to ensure your stay will be nothing short of the unforgettable experience you can imagine, even if you don’t sit on the back of a horse the whole time you are here!
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“The earth gave me a dream, my work transformed it in a uinque product; my Oil.” Gianluca Magri
TUSCANY EQUESTRIAN - STABLES & RESORT WHERE : Via Val d’Orcia 4 53047, Sarteano (Si) CONTACT : Phone: +39 392 6443020 Email: info@tuscanyequestrian.com www.tuscanyequestrian.com
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Photo credits: David Battistella
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The Innocents of Florence Mysterious Madonna Captivates Florentine Cinemagoers. words by Bethany Creamer
On May 17, Florence’s Cinema La Compagnia hosted the English-language première of award-winning Italian-Canadian director David Battistella’s latest documentary: The Innocents of Florence. The film weaves its way through six hundred years of the history of the filmmaker’s adopted home. Six years in the making, the film is a labour of love that follows every step of the careful restoration of a fifteenth-century painting called the Madonna degli Innocenti (The Madonna of the Innocents), whose restoration was sponsored by Jane Fortune, the late founder of the Advancing Women Artists. For many years, the painting was thought to have been the first commission received by Florentine master painter Domenico di Michelino (1417-1491). In 2013, two art conservators, Elizabeth Wicks and Nicoletta Fontani, were tasked with restoring the Madonna degli Innocenti, which now hangs in the Museo degli Innocenti (Museum of the Innocents), a museum dedicated to the history of what may well have been Europe’s first orphanage cum children’s hospital: the Spedale degli Innocenti (The Innocents’ Hospital). The film follows Wicks and Fontani as they painstakingly restore the painting over the course of several years, using a variety of period techniques. Painting in the fifteenth century was a laborious process, and pigment was applied very sparingly. The art conservators also make use of a few modern techniques, such as radiography, to uncover the painting’s hidden mysteries, making several surprising discoveries along the way. It is a privilege to watch this process, which is usually hidden from the public, and to witness the sheer enthusiasm these artists have for their craft. In between shots of the art conservators diligently at work on the Madonna in their Santa Croce studio, the film transports us back six hundred years to 1419, when construction started on the Spedale degli Innocenti (Innocents’ Hospital) in Piazza della Santissima Annunziata, under the watchful eye of master architect Filippo Brunelleschi. The idea for the institute was born in 1410, when wealthy merchant Francesco Datini left one thousand Florins in his will to solve one of the biggest social problems of the period: what to do with the city’s abandoned children. Prior to this, these children were most often left to die, with some even being thrown into the river Arno.
The documentary reveals how, in the philanthropic spirit of Renaissance Humanism, the Silk Guild, one of the most powerful guilds in the city, decided to fund the Spedale degli Innocenti, which officially opened in 1445. The children received a good education, often learning a trade, and a sense of civic duty was instilled in them, the same sense of civic duty that inspired the founding of the institute itself. We learn that the Silk Guild commissioned the Madonna degli Innocenti as a processional banner; the fifteenth century answer to a logo. In the painting, the Madonna is standing in front of the Spedale degli Innocenti and is sheltering three generations of abandoned children under her wide cloak, epitomising the charitable nature of the institute. This banner would quite literally become a quintessential part of the social fabric of the city of Florence. The film is a fitting tribute to an institute that is still close to the hearts of many Florentines, particularly those with the surname ‘degli Innocenti,’ which was the name given to children taken in by the institute. For much of its history, only around 10 to 15% of the children survived into adulthood because of bouts of malnutrition and fever so the name ‘degli Innocenti’ marks them out as resilient survivors. Despite these difficult periods in its history, the institute gave these children a fighting chance that they wouldn’t have had otherwise. To this day, the building continues its core mission, housing two nurseries, a primary school, a children’s home, a world-leading UNICEF research centre for the study of childhood, and, of course, the Museo degli Innocenti. This documentary is a must-see for anyone who wants to understand Florence’s rich history of philanthropy, and beautifully conveys the sense of community that has characterised the city for centuries. For more details about the film and future screenings, please go to: https://innocentimovie.com
Bethany Creamer is a student of Modern Languages and Cultures at Durham University, UK. She is currently taking part in the Volunteer Research Program at the Advancing Women Artists in Florence, Italy.
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Photo credits: David Battistella
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IL PALIO DI SIENA Not Just a Horse Race!
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hen I mentioned that I wanted to write an article on the Palio in Siena, everyone told me that I had to go there during the four days of the Palio festival to truly understand what the Palio meant to the Sienese people. To experience the atmosphere, the spirit of the community and to immerse myself in the events and rituals that lead up to what is probably one of Italy’s oldest and most famous horse races. The Palio di Siena, known quite simply to the locals as ‘Il Palio’ is a horse race that is held twice a year,on the 2nd of July and 16 August, in Siena, Italy. Ten horses and their jockeys ride bareback around the Piazza del Campo, each representing one of ten of the seventeen contrade, or city districts. The Palio held on the 2nd of July is named the Palio di Provenzano, in honour of the Madonna of Provenzano, a Marian devotion particular to Siena, while the Palio held on the 16th of August is named the Palio dell’Assunta, in honour of the Assumption of Mary. The Palio di Siena is more than ‘just a horse race’. It is the culmination of ongoing rivalry and competition between the contrade and something that the Sienese work on all year round. The field consists of ten horses, so not all seventeen contrade can take part in the Palio on any occasion. The seven contrade that did not take part in that month of the previous year are automatically included; three more are chosen by draw twice a year, in the last days of May and at the beginning of July. Coming from Melbourne, Australia, famous for The Melbourne Cup, a local horse race quoted as being ‘The Race that Stops a Nation’ I felt that I had some idea of what a horse race could do to a population. But one thing that we don’t have in Melbourne are the contrade and the eternal
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rivalry between the districts of the city. You don’t choose which contrada you want to support. It’s not like choosing a football team, it’s more like your family - you are born into your contrada and you will live each day of your life with that contrada until you die. Preparations for the next Palio begin as soon as the last Palio has finished as funds must be raised to support the next Palio campaign. Trainers, horses, jockeys must all be paid for and everyone of course wants the best of each. Il Palio è tre minuti con il cuore in gola, quattro giorni senza fiato, una vita da respirare a pieni polmoni. The Palio is three minutes with your heart in your throat, Four days of feeling that you are out of breath. and a lifetime living it with every breath you take. The lead-up and the day of the race are lived with passion and pride. Formal and informal rituals take place, with each contrada fine-tuning their strategy of horsemanship, alliances and animosities. There are the final clandestine meetings among the heads of the contrade and then between them and the jockeys. The Drappelone - banner or Palio also known by the locals as il cencio (rag) is the banner of painted silk awarded to the winner of the race. It is hand-painted by a different artist for each race. A local artist usually paints the palio for the July race while a famous artist will paint the palio for the August race. Both banners must respect a criteria with the design and follow a precise iconography that inclues some sacred symbols. It must present the insignia of the city and the symbols of the ten contradas participating in the race. The Palio
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All Photos by Luciano Valentini - www.lucianovalentini.it
is first presented at a press conference in the courtyard of the Podestà of the City Hall. It is held vertically on a black and white pole and topped by a silver plate, with two black and white plumes draped down the side. The Palio remains the property of the contrada but the silver plate is returned to the city of Siena before the races of the following year, after the date and the winning contrada is engraved on it’s back. There is one silver plate for July and a separate one for the August race. A week before the Palio, the track is laid with the signature mustard coloured earth that transforms the medieval piazza into a racetrack and arena with seats and stands for the spectators. The dirt is a special formula that is re-used each year and conserved nearby the rest of the year. Mattresses are placed on the walls at one of the two most dangerous curves, San Martino to ‘cushion’ any falls by horse and or riders but I think I would prefer a full body air-bag! Three days before the race, the horses are selected. Early in the morning of June 29th and August 13th, around thirty horses are brought to the Piazza del Campo to be examined by the vets and presented to the Magistrati or head of each contrada who are in charge of their Palio preparations. The Tratta or trials begin at 9:00am where small groups of horses run three laps around the Campo in the presence of the Mayor, while being scrutinized by the captains. The aim is to select evenly matched horses with a preference for strong and fast horses on the hard ground but also not too exciteable. They also look for horses that are good at turning right which is unusual for a race horse. At midday the Mayor and officials of Siena sit around a table on a stage in the piazza for the Assegnazione. The assign-
ment of each horse is one of the most important moments in the four days of the Palio, an event in itself. Everyone gathers in the Piazza del Campo and holds their breath while the Mayor first pulls out the name of the horse from one box followed by the name of Contrada assigned to it. As opposed to the jockey who has been carefully selected by each contrada but who can also be changed at any time up until the morning of the race, the horse is permanent and cannot be substituted. Each contrada and more importantly the jockey will only have a few days to get to know his horse before the big race. After each horse is assigned, there is either a large cry of jubilation or a more subdued reaction from the contrada as there are obviously favourite horses that everyone hopes to get. The ‘Barbaresco or Groom’, another key figure of the Palio then moves in to escort the horse together with the Contrada to their stable where he will be responsible for the daily care of the horse up until the race on Sunday. The groom commands huge respect from the contrada and the horse will be treated like a god as he may well bring home the honour of a Palio win! It is from this moment that the strategies really come into effect. If the contrada has a non-favoured horse, then they will succumb to the fact that they probably won’t win but it will then become important that their rival contrada does not win either. They say that to come second in a Palio is worse than coming last. Equally shaming is if you lose on a favourite horse. In the evening of the selection and allocation of the horses to the contrada, the first trial race is run. Six trial races are run in total to acquaint the horses with the Palio procedures and noise, and build suspense ahead of the main race. The last trial race is held on the morning before the Palio. Corruption and bribery are commonplace, prompting the residents of
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each contrada, known as contradaioli, to keep a close watch on their stable and especially their rider as it is the fantino or jockey who really commands the race. As most of the jockeys come from Sardegna (where bareback racing is a common sport) they usually do not have an allegiance or loyalty to any one Contrada. The jockeys will change contradas if a higher bid is offered and are also known to bribe the other jockeys to give them any advantage during the race. The night before the race, there is a special dinner held in each participating contrada. There is much singing of traditional songs as hundreds of contradaioli come together. The captain raises a toast to the jockey then after the dinner, he meets with the other contrada captains to agree the final ‘partiti’, financial agreements over who will support and who will attack who during the Palio race. With the exception of their main rival, agreements are made with as many contrade as possible.
by a policeman to the ‘mossiere’ or starter, a key figure who not only calls the jockeys to the starting ropes but has a neutral interest in the race. He has also been approved by each Contrada leader. There is a hushed silence in the piazza as he calls the horses to take their position one by one, leaving the tenth one, the rincorsa, to run in from behind. This is the worst position is to be in. The rincorsa waits behind the other horses until the right moment when he runs forward which is the signal of the beginning of the race to everyone else. The only advantage to being in this position is that the rincorsa has major bargaining power with the other jockeys as he can decide to start the race when his enemy is in a bad position. He can also be bribed to follow another jockeys signal for when to run forward. As the line-up is decided at the very last minute, the ‘partiti’ are commonly modified in the last second negotiations by the jockeys and you will see them talking secretly to each other as they jostle in the starting line-up refining agreements or creating new ones based on their position.
The race is held in the evening but the day starts early. At 7:30am on the day of each Palio the Archbishop celebrates a short mass for the jockeys called ‘La messa del Fantino’. This is then followed by the final trial in the Piazza called the ‘provaccia’. After this each captain takes their chosen jockey to the city hall to present their name to the mayor and to receive the contrada silks that the jockey will wear during the Palio. Up until this moment no jockey assignment is final.
It can take a few hours and attempts to get all the horses lined up suitably for the Palio to start. This period lasts much longer than the actual Palio and can be vitally important in determining the winner. There are basically no rules in the Palio. Jockeys are free to hit the other jockeys and their horses as they try to stop their rival from getting n front of them. The only rule of the Palio is that a jockey may not grab the reins of another’s horse. As long as the horse is still wearing their bridle when they cross the finish line they are the victor – regardless of whether the jockey is still on the horse! The Palio officially starts when the rincorsa runs in from behind and the canapo is dropped. A loud cannon shot will indicate whether the partenza is ‘buona’ and the race can continue or if they must have a re-start.
At around 2:00pm, each horse is brought into the church of his contrada for a special benedizione or blessing from the priest where he says,“Vai e TornaVincitore” – “Go and Return Victorious” It is quite a sight to see a horse inside a church but also to see a priest with the contrada scarf wrapped around his shoulders over his robes. Once everyone fills the space in the center of the piazza, the gates are closed so they must stay there until the race is over. This year numbers were limited so the piazza didn’t seem as packed full as previous years. Before the race, the Corteo Storico (historical parade) takes place. Over seven hundred people in traditional medieval dress march from the Duomo to the Campo – flag throwers from each contrada walk alongside contrada leaders and jockeys. Also in the parade are representatives of the contrade who are not participating in the race. Sienese government officials, policeman, representatives of towns and villages owing allegiance to Siena and representatives of the main guilds of Siena are also in the large group. The Corteo Storico finishes in the campo and finally it is time for the Palio. The jockeys mount their horses in the ‘entrone’ or inner courtyard of the Palazzo Pubblico. As they pass into the Campo each is handed a ‘nerbo’ by a police guard – this is the whip the jockeys use for the race only (not the trials). They also use the whip to beat other jockeys and horses during the Palio as they attempt any means possible to remove the rivals from the race. The nerbo is made from a dried, stretched phallus of an unweaned calf, and is about two and half feet long. The jockeys move towards the ‘canapo’ – the starting ropes but they still don’t know what the starting line-up will be. This is decided moments before the race. Painted balls representing each contrada are randomly drawn to decide the order of the line-up with the first contrada having the best position on the inside of the track. The order of the balls is then passed
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As they race three circuits of the track, the jockey must stop his rival contrada from winning, honor any agreements he is involved in and must avoid the shame of coming second. If his contrada think he is not trying to win they will be exceptionally upset with him. All of this while trying to manage a galloping bareback horse around a cantored track with two tight and dangerous corners. The Palio itself lasts for less than 90 seconds after a year of preparation and emotion comes to a head. The winning horse and jockey are immediately swarmed by the ecstatic contradaioli and the jockey is carried off on the shoulders of the singing crowd. The the actual ‘Palio’ or banner also known as the drappelone is handed down to the cheering crowd and carried to the church or cathedral. During the year the Palio banner will be taken out occasionally in a procession around Siena to remind the others of who won. The evening of the race the jockey and the horse join the contrada for the victory banquet. There are specific celebratory dinners held over the next few months and celebrations by the winning contrada will carry on for up to six months with the last official celebration taking place in January of the following year. *Special thanks to Francesco Bartalini and Luciano Valentini for their invaluable collaboration on this article. Listening to two local Sienese explain the culture of ‘their’ Palio was pure poetry and I hope to have relayed some of their emotion in this article!
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Calcio Storico Fiorentino history & present day play of the game.
Calcio Storico Fiorentino (historic football) is an early form of football that originated in 16th-century Italy. Once widely played, the sport is thought to have originated in Piazza Santa Croce in Florence, where the game is still played today each year. Here it became known as the Giuoco del Calcio Fiorentino or simply calcio, which is the name for Soccer in Italian and also means to kick . Calcio was reserved for rich aristocrats who played every night between Epiphany and Lent. Even Popes, such as Clement VII, Leo XI and Urban VIII were known to play the sport in the Vatican City. The game has always been quite violent despite the apparent rules of play. One of the most famous matches played in history was held on February 17, 1530, in defiance of the imperial troops sent by Charles V, as the city was under siege. The Florentines made a mockery of the enemy by playing the game in full view accompanied by loud and merry music. The official rules of calcio were published for the first time in 1580 by Giovanni de’ Bardi, a Florentine count. Each team comprises of twenty-seven players who are allowed to use both feet and hands to pass and control the ball. Goals (or cacce) are scored by throwing the ball over into the netting that stretches the length of the short end of the field. There is a main referee, six linesmen and a field master. Each match is played out for fifty minutes with the winner being the team with the most goals scored. Today, three matches are played each year in Piazza Santa Croce in Florence during the third week of June. A team from each quartiere of the city is represented: • Santo Spirito / Bianchi (Whites) • Santa Croce / Azzurri (Blues) • San Giovanni / Verdi (Greens) • Santa Maria Novella / Rossi (Reds) The teams who play each other in the first game are decided Easter Sunday during the ‘Scoppio del Carro’ event. Four marble eggs coloured to represent each team; blue, red, green and white are placed in a velvet pouch. The first two colours to be drawn will play the first match and the other two will play the second.
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After playing each other in two opening games, the two overall winners go into the final which occurs each year on June 24th. The modern version of calcio allows tactics such as head-butting, punching, elbowing, and choking. Punches and kicks to the head are banned. It is also prohibited for more than one player to attack an opponent but these rules seem never to be followed. Any violation leads to being thrown out of the game. Matches last fifty minutes and no substitutions are allowed for injured or expelled players. The teams are made up of four Datori indietro (goalkeepers), three Datori innanzi (fullbacks), five Sconciatori (halfbacks), and fifteen Innanzi o Corridori (forwards). The referee and his six linesmen referee the match in collaboration with the Judge Commissioner, who remain off the field. The referee, above everyone else, is the Master of the Field. He makes sure the games runs smoothly, stepping onto the field only to maintain discipline by hitting the players with a long stick to re-establish order in case of a fight on the field. There is also the Aquaiolo who throws water onto fighting players. The game starts when the Pallaio (referee) throws the ball in the air towards the center line, then at the first whistle, fifteen forwards or Corridori begin fighting in a wild and aggressive display designed to tire their opponents’ defenses, but which often descends into an all-out brawl, as they try to pin down as many of the best players as possible. Once there are enough incapacitated players, the other teammates come in to grab the ball and head to the goal. This is followed by a small cannon firing which announces the beginning of the contest. From this moment on, the players try by any means necessary to get the ball into the opponents’ goal. The teams change sides with every caccia or goal scored. Every time a player throws or kicks the ball above the net, the opposing team is awarded with half a caccia. The game ends after fifty minutes and the team which scored the most cacce wins. The prize for the winning team is a symbolic Chianina cow and a free dinner and of course the honour of the title!
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Photos : Giuseppe Sabella
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La Conserva di
Pomodoro
This simple recipe symbolises so much to me about my family heritage and the beauty of tradition. My family and cousins still get together every year in Australia to make the annual ‘tomato sauce’ supply. Everyone has their responsibility; mine was always to put the sprigs of basil in the bottle, while my Nonno had the all important job of passing the tomatoes through the press machine. It wasn’t until I visited my father’s home-town in Calabria in 1993, when I came across some old ladies in the street making their pasta sauce in the same way, that I realised how old this tradition was and how special that us, the grandchildren in Australia were still respecting this annual past-time. And so here I share our family recipe - everyone has their own version and so whether you choose to add garlic or salt, not use basil, slice the tomatoes or puree them, your next bowl of ‘pasta al pomordoro’ will be that much better! Make a small batch or our annual quantity of four hundred bottles!
Ingredients
Method
• Vine ripened tomatoes - quantity is up to you! • Fresh Basil
1. Wash tomatoes in fresh water. 2. Slice tomatoes in quarters. 3. Pass tomatoes through the Press. Collect skin and seeds and pass through again. 4. Using a funnel, fill bottles leaving a about 5cm at the top. 5. Add a few basil leaves 6. Close bottles securely. 7. Add the bottles to large saucepan, conserving boiler or in our case large barrel drums, ensuring the bottles are packed tightly to avoid breakages. If using a drum outside, place a thick towel at the base and above the bottles once full. 8. Fill the drum with cold water and bring to the boil. Boil for 30 minutes then leave overnight to cool before removing bottles. 9. Divide the production among family and friends!
Utensils • Sterilized Bottles of any shape & Size • New Lids! • Tomato Press (that separates the skin and seeds from the tomato pulp & juice) • A bottle capping machine (this will depend on the type of lids you are using of course you might not need one) • Large Saucepan or Conserving Boiler.
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Joe Brancatisano passing down the tradition to his grand-daughter, Isabella
Mamma Rosa from Fattoria Poggio Alloro prepares the annual supply of ‘Conserva di Pomodoro’
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Pappa al Pomodoro One of my all-time favourite comfort foods is Pappa al Pomodoro. Another Tuscan dish with peasant origins, a simple tomato soup taken to the next level with old bread, fresh basil and a generous splash of extra-virgin olive oil. ‘Pappa’ which literally translates as baby-food even has a popular song written about it here in Italy! INGREDIENTS 3 tablespoons extra-virgin olive oil 1 small onion, chopped 1 garlic clove, thinly sliced 1 kg fresh tomatoes, peeled, seeded and roughly chopped* 350gm day-old Italian tuscan bread, roughly sliced 2 cups vegetable stock 1 handful of fresh torn basil leaves Freshly ground black pepper Grated Parmesan
METHOD • In a deep saucepan, heat the olive oil over a medium-high flame. • Add the onion and garlic and saute for a few minutes, until onion is translucent. • Add chopped tomatoes and their juices and bring to a boil. Reduce to a simmer and let cook until the tomatoes begin to soften and break down, about 5 minutes. • Using a wooden spoon, add the stale bread chunks and stock. • Continue simmering until all the bread has absorbed as much liquid as possible, yielding a baby food-like consistency. • Stir in the basil. Season, to taste, with salt & pepper and let the soup continue simmering for 10 more minutes. • Serve immediately in warmed soup bowls. Splash with extra Olive Oil and sprinkle with Parmesan cheese. *You can substitute the fresh tomatoes for polpa or passata.
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Cocktail di Gamberi in Salsa Rosa Shrimp Cocktail in Pink Sauce This is one of Harry’s oldest starter recipes, even tastier when accompanied by a Bellini!
Ingredients - serves 4
• • • •
Pink Sauce • • • • •
Method
16 Prawns (fresh or thawed) 6 lettuce leaves 2 celery stalks 400g Pink Sauce
300g mayonnaise 30 g mustard 100 g ketchup 10 g cognac Tabasco & Worcestershire sauce to taste
Clean the prawns by removing the heads from the shell, slitting the spine to devein them, boil them in hot water for about one minute and then let them cool down. Lay a bed of thinly cut lettuce in a separate bowl or glass together with the squarely chopped celery. Display 4 prawns per individual serving and glaze with sauce. Serve and decorate as you please.
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LA PINETA RISTORANTE DI LUCIANO ZAZZERI
VIA DEI CAVALLEGGERI NORD, 27 57020 MARINA DI BIBBONA (LI)
TEL : 0586/600016
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urning down the sandy road through the pine forest at the Marina di Bibbona, you may be mistaken for thinking you are on the wrong road when looking for Michelin Star restaurant, La Pineta. Located directly on the beach in an enviable position where you can enjoy the freshest fish and a gourmet menu while listening to the waves lap the shore, La Pineta restaurant, affectionately known by the locals as ‘La Baracca dello Zazzeri’, (Zazzeri’s Shack) first opened in 1964 with a small beach club offering 12 umbrellas and changing cabins while Nonna, Mamma and Zia (aunt) were responsible for the kitchen. Chef Luciano Zazzeri was born in Marina di Bibbona and at only nine years of age could also be found in the kitchen giving a helping hand. In 1965, his family would put their first fishing boat in the water and so this would become the mens daily work - they would fish and the women would clean the nets. Luciano would also become a fisherman at the age of eighteen and would continue this work that he loved for the next twenty-two years. In 1987, a terrible storm seriously damaged the beach club and it was Luciano who took control of the situation to get everything back to normal as quickly as possible. He was thirty-one years old, married with two boys, Andrea and Daniele and he divided his time between the kitchen and the restaurant which proved a winning combination as that season was very successful. Apart from having a passion for the sea, Luciano is also an excellent hunter and cultivates his own vegetables with the pride you would expect from such a highly respected Chef. La Pineta di Luciano Zazzeri as we know it today was founded in 1996. Open all year round, Summer offers postcard
views of the umbrellas lining the shore, while Winter offers its own appeal with wild seas creating large waves that seem to arrive right up to the wooden balcony. Improving and gaining popularity with each passing year, locals and tourists alike kept coming back to eat here time and time again. The most important locals from Bolgheri such as the Antinori , Incisa della Rochetta and the ‘Della Gherardesca could be counted among their most loyal customers and it was this endorsement that would help grow the fame of this unassuming restaurant on the beach. I found Chef Zazzeri to be incredibly generous with his time and knowledge. On the day I asked if I could visit, he was not only available for an interview but when I asked him if there was a dish he was famous for and that he wouldn’t mind sharing with me, he spontaneously offered to prepare his famed Cacciucco for me that very afternoon. Cacciucco or fish stew is traditionally from Livorno but Chef Zazzeri was very outspoken about the fact that his dish was not Cacciucco Livornese but a Cacciucco di Zazzeri. In his opinion, many fish stews served today are made incorrectly and do not respect the origins of the dish. Only certain fish must be used to ensure that you are not biting into a mouthful of fish bones and he believes it is also not necessary to spend hours over the stove to get a dish filled with flavour and that you wont be digesting for the following two days! *This article was originally printed in our July/August issue in 2017. Sadly, Chef Zazzeri passed away earlier this year and so it seemed fitting to pay homage to him with a salute to his famous Cacciucco.
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il Cacciucco
dello Chef Zazzeri
A fish stew traditionally from Livorno made by fisherman using the left-over fish to ensure that nothing was wasted. Only certain fish must be used to ensure the stew is eaten easily and doesn’t end up full of fish bones. Also important is the bread you use - it must be 2-3 days old to ensure that it can ‘hold’ the stew and not just fall apart.
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Ingredients - serves 4
• 1kg of mixed fish. Use a mix of any of the following fish : Razza, Gallinella, Pescatrice, Ciccala, Mussles. • 1/2 Kg Octopus • 1kg squid • 4-8 Mantis Shrimp • 2-3 day old Tuscan bread - must be unsalted! • Garlic & chilli chopped finely together • White wine • Peeled tomatoes • Tomato concentrate / paste • Sage • Fish broth made using fish heads, bones, water and white wine only (no vegetables) • Parsley to garnish • Cherry tomatoes
Method
1. Break the peeled tomatoes up and place in the frypan on a medium heat, together with the garlic & chilli mix & tomato paste then add the sage leaves. 2. Add a few slugs of white wine. 3. Add a generous amount of extra-virgin olive oil and let simmer. 4. As the liquid reduces, add the fish broth prepared earlier. (repeat if necessary throughout the cooking process) 6-8. Add the squid, octopus and fish pieces and then cover for ten minutes. 9. Next add the mussels and shrimp, then cover again for a few minutes until the mussels open. 10. Add the chopped cherry tomatoes at the end and garnish with chopped parsley. 11. Toast the bread slices in the fry-pan (not in the oven) then rub lightly with garlic. Arrange the slices on the plate. 12. Arrange the fish pieces on the bread slices then arrange the rest of the stew onto the plate.
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Spaghetti con Vongole Veraci & Crema di Peperoni Gialli SPAGHETTI with CLAMS & YELLOW CAPSICUM CREAM By Arturo Dori
*Chef Tip - Add a small piece of fresh chili to the saucepan before cooking the clams.
SERVES 4
INGREDIENTS • • • • • • • •
1/4 cup olive oil for the parsley, garlic and clams garlic - 4 cloves cut in half parsley stalks 1/2 glass white wine 500 grams fresh clams (ensure the sand has been purged) 2 bright yellow capsicums 1/2 glass of extra-virgin olive oil for the capsicums Spaghetti No 3
METHOD
Prepared and Photographed in the DESINARE kitchen.
1. Cook the parsley stalks and 2 garlic cloves (leave peel on) together with the olive oil.
6. After about 10 minutes check the capsicums - when they are ready, puree with a stick mixer then pass through a sieve to remove any skin pieces. Add the puree crema to a large fry pan.
2. Add the white wine and cook for a few minutes to evaporate the alcohol before adding the clams. Cover for a few minutes.
7. Filter the liquid from the clams through a cloth to ensure there are no remaining grains of sand remaining, then add to the capsicum puree.
3. When the clams open, remove them from the saucepan (saving the remaining liquid). Remove the clams from their shells and set aside.
8. Cook the pasta following the instructions on the packet and remove Two minutes before the recommended cooking time ends and add to the capsicum crema.
4. Chop the capsicum into large pieces, removing the seeds and white internal membrane. Cook very slowly (to avoid it changing colour) in 1/2 cup olive oil together with the remaining garlic cloves (peeled and sliced). Cover the pan. 5. Boil the water for the pasta.
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9. Toss over a high flame until the pasta is cooked and covered in the crema. 10. Serve on a large plate, placing a generous serving of the clams on the pasta and garnish with finely chopped parsley.
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Nothing says Summer to me more than fresh shellfish. Spaghetti alle Vongole is one of my favourite dishes and here this simple dish is given a fresh new twist with the addition of a yellow capsicum cream. Take care to cook the capsicum very slowly so as not to discolour it, purge your clams properly and this recipe will be one of your Summer favourites!
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Budino di Riso by Toni Brancatisano
These delicious rice pudding tarts, known as ‘Budini di Riso’ are a traditional Tuscan pastry and are usually eaten for breakfast. They can be found in most bars, (and by ‘bar’ I mean ‘cafe’) in Tuscany and are very popular with children. My son Joseph was a very fussy eater when he was in kindergarten and primary school, and if he didn’t want breakfast at home, he would always happily have a ‘budino di riso’ before starting school. To make these, you need to make the pastry, cook the rice, and make a custard. You can decide to do all this on one day, or make the pastry and cook the rice the day before, completing the recipe the day after. I find doing this recipe over two days makes it much easier and less stressful. It’s also a bit quicker because otherwise you have to wait for both the custard and rice to cool down before baking these tarts. I have written the recipe for making custard from scratch, but nothing stops you from making your favourite custard with a convenient custard powder, and using that custard in this recipe. While you can use any white sticky rice, some Italian recipes call for ‘riso originario’ which is a starchy white rice, with the grain being small and rounded. This rice is often used for desserts, puddings and sushi. Others call for Arborio rice. I used Arborio rice and the result resembled the Budini di Riso I know from Tuscany.
PASTRY • • • • •
300g plain flour 150g butter, cold & cut into cubes 1 egg and 2 egg yolks 85g caster sugar pinch salt
RICE • • • • • • •
150g Arborio rice 700ml milk 100g caster sugar pinch salt seeds from 1 vanilla bean zest from 1 lemon 50g butter
CUSTARD • • • • •
570ml milk 55ml cream 4 egg yolks 30g caster sugar 2 level tsp cornflour
Start by making the pastry. In a food processor, add the flour, butter, egg, egg yolks, sugar and salt and mix until a dough forms. Tip onto a lightly floured board and knead gently. Make into a flattened disc, cover in plastic wrap and refrigerate for at least 30 minutes. Roll out, line tart cases, trim all excess pastry and place them in the refrigerator until you are ready to fill and bake your budini di riso.
Cook the rice by adding all ingredients to a heavy based saucepan or frying pan. Cook on a low heat allowing milk to lightly simmer. Stir frequently until rice is cooked and milk has been absorbed. Pour into a bowl and allow to cool completely. (At this stage you can refrigerate the rice overnight and continue recipe the next morning). Make the custard. Bring the milk and cream to simmer slowly over a low heat. Whisk the yolks, sugar and cornflour together in a bowl until well blended. Pour the hot milk and cream on to the eggs and sugar, whisking all the time with a balloon whisk. Return to the pan, and over a low heat gently stir until thickened. (While I usually add vanilla extract to my custard, I haven’t added it here, because I added the vanilla bean to the rice). Wait until custard cools, and then add to rice. You should try and have equal amounts of rice to custard…. My rice was cold as it had sat overnight in the fridge, so I used the paddle on my KitchenAid to combine the rice and custard together. Preheat oven to 180°C. Remove tart cases from refrigerator, and fill each one with rice mixture. You can fill them to the top, while they may swell a little during cooking, they will not spill over. Bake for 45-50minutes until tops are slightly golden. Remove from oven, allow to cool and dust with icing sugar prior to serving. Budini di Riso may be eaten warm, but in Italy, they are usually eaten cold at breakfast time.
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Crostata di Pesche PEACH TART by Arturo Dori Baking & Photo by Toni Brancatisano
Sweet Pastry Base • • • • • • •
200g caster sugar 4 egg yolks 300g butter 500g plain flour ’00’ 1 teaspoon vanilla extract pinch salt zest of 1 lemon
1. In an electric mixer with a whisk attachment, add the egg yolks, sugar, butter, salt, vanilla extract and lemon zest. Whisk until butter is soft and all ingredients are combined. 2. Exchange the whisk attachment for the flat beater and add the flour a little at a time. Mix gradually until all flour is combined and you have a ball of dough. Turn out onto a lightly floured board, knead quickly and form into a disc. Cover with plastic kitchen wrap and refrigerate for at least 4 hours or preferably overnight.
Custard (Crema Pasticcera) • • • • • •
125ml cream 125ml milk 3 egg yolks 2 heaped tablespoons of cornflour 80g sugar Vanilla seeds scraped from 1 vanilla bean
1. In an electric mixer, whisk the egg yolks and sugar until the mixture is pale, light and fluffy looking. Add the vanilla and cornflour and whisk again until combined.
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2. Add the milk and cream to a saucepan and bring to a simmer. Remove the saucepan from the heat, add the egg yolk mixture, and whisk by hand until you have a smooth mixture. 3. Return the saucepan to a medium heat and continue whisking until the mixture simmers and thickens. Remove again from the heat but continue whisking until you are happy that the custard has thickened and is smooth with no lumps. 4. Transfer the custard into a bowl. Place plastic kitchen wrap directly on the surface of the custard (to prevent a skin forming on the surface) and allow to cool to room temperature. I prefer to prepare this the day before making the tart and I refrigerate the custard overnight. Summer Peach Tart 1. Remove the pastry from refrigerator and knead with a little flour. Roll out and line a 26cm diameter tart tin. Trim border of excess pastry, poke holes over the base with a fork. Line with baking paper and fill with ceramic baking beads. Bake at 180°C for 15 minutes. Remove paper and ceramic beads, return pastry to oven and cook for a further 10 minutes. Allow to cool. 2. Cut 5-6 yellow free-stone peaches (skin on) in half and remove stone. Slice each half in thin slices. 3. Spoon the custard into the pastry case, and spread evenly over the base. 4. Arrange the peach slices over the custard. 5. Bake at 160°C for 20 -30 minutes. 6. Allow to cool. Serve sprinkled with icing sugar and garnish with mint leaves.
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LATTERIA
GELATERIA
Gelato in Italian literally means “frozen”, but it’s basically used to indicate the Italian type of ice cream. The History of Gelato dates back to the 16th century. There is some confusion as to where or who really invented gelato but the Italians (Caterina de’ Medici in particular) are certainly credited with introducing gelato to the rest of Europe. As the story goes, the first gelato as we know it today is credited to Bernardo Buontalenti, architect, theatrical designer, military engineer, artist and native of Florence, who delighted the court of Caterina dei Medici with his creation. The Grand Duke Cosimo I de’Medici wanted Buontalenti to organize an opulent banquet to celebrate the Spanish deputation. Buontalenti invented a new dessert for the occasion: a sorbet made with ice, salt (to lower the temperature), lemon, sugar, egg, honey, milk and a drop of wine. His cold cream was flavoured with bergamot and orange and was the forerunner of the modern Florentine cream. Caterina, then Queen of France was delighted with this new desert and from then on would summon Florentine pastry chefs who had learned the art of making gelato to her palace so that she could serve this delicious desert to her guests, kings and diplomats, who then returned to their homelands with the recipe. At the end of the 60’s a contest was announced to commemorate the Florentine architect. Gelateria Badiani won the first prize with a simple yet unique flavour which
they called quite obviously, Buontalenti. Since then, this special cream based flavor, still known as Buontalenti and made with only cream, milk, sugar and eggs has become a favourite for many Florentines and gelato lovers everywhere. You can still visit the popular Gelateria Badiani in Viale dei Mille, Florence today to taste the original winning flavour. Buontalenti was also an expert of ice conservation and he projected cold storage rooms both in the Boboli Gardens and in the Cascine area. Near the Medici Fortress there is a street called Via delle Ghiacciaie (icehouse street), that owes its name to the historic cellars located here that were covered with isolating cork and wood panels. Years ago in Italy, you would buy your gelato from the Latteria (which typically sold only milk, cheese, eggs etc) Gelato was only offered between the months of April (usually at Easter) and early October. The first flavours were crema (custard), pistacchio, cioccolato, nocciola (hazlenut) and of course Buontalenti. Fragola (strawberry) and Limone (lemon) were offered only when the fruits were in season. Today, you can still see signs for Latterias around many Italian cities that typically still sell milk, cream and butter. They may now be modern places selling new fashionable flavours and products but the name will always evoke memories for many of a distant time when a gelato was a special novelty only available in the Summer.
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Summer COCKTAILS This Tuscan Life v
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Summer Cherry by Thomas Martini
Early Summer is when the first cherries are available in Tuscany and surprisingly Thomas said they alwyas made him think of Capri. The beautiful colours of the traditional ceramic tiles found everywhere on this glamourous island are the inspirationfor this pretty cocktail. Imagine drinking it while admiring the sapphire and turquoise waters of the sparkling sea.
INGREDIENTS • Amarene Cherries • 1 drop Cherry Bitters • 1 drop Lemon Bitters • 3 cl Acqua di Cedro • 3 cl Vodka • Cream • Mint • Edible Flowers
METHOD • Place 5-6 amarene cherries in the base of glass. • Cover and fill glass with crushed ice. • In a shaker mix the Acqua di Cedro, Bitters & Vodka with ice cubes. • Strain into glass then gently add cream to the surface. • Garnish with Mint & Edible Flowers
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Bellini by Thomas Martini
Harry’s Bar Signature Cocktail, the Bellini is quite simply made with fresh peach puree and prosecco. While the Venetian version is made with white peaches, yellow peaches are used to differentiate the Florentine cocktail. Simply Elegant!
INGREDIENTS • 2 Parts Prosecco • 1 Part Fresh Yellow Peach Puree • Make as much or as little as you like!
METHOD • Pour the peach puree into a chilled glass and then add the Prosecco. • Stir gently
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Aqua Marina by Thomas Martini
Stuck in the city dreaming of sailing away on your yacht, while wearing your vintage Pucci? This is the perfect Summer cocktail - whether you are in the city or dropping anchor in some exotic port.
INGREDIENTS • 5cl Malibu • 3cl Crema di Melon • 3cl Crema di Cacao Bianca • 3cl Fresh Cream • ice
METHOD • Fill Blender with Ice • Add all ingredients • Blend until smooth • Pour into cocktail glass. • Garnish with edible flowers.
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Harry at the Beach by Thomas Martini
It’s so hot in the city! Harry likes to keep his cool by escaping to the Versilia coast where he prefers his watermelon served in a glass with crushed ice, Ameretto di Saronno and Pisco, a brandy produced in the wine-making regions of Peru.
INGREDIENTS • Watermelon cut into small cubes • plus additional watermelon for the blender
• • • • • • • •
Green grapes sliced in half 1cl Watermelon Syrup Crushed Ice 4cl Amaretto di Saronno 2cl Pisco 3 dashes of Bitter Lemon Juice of One Lime Sprig of Dill
METHOD • Place sliced fruit in a large glass. • Add Watermelon Syrup and top with Crushed Ice (to top of glass) • Add the Amaretto, Pisco, Bitter Lemon, Lime Juice, additional Watermelon & Ice cubes to a Blender • Mix on high for one minute. • Pour into the glass over the crushed ice • Garnish with Dill
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Farro
The Ancient Organic Grain
In Italy, the generic term farro includes emmer wheat, spelt and einkorn wheat. Farro from Garfagnana however, should not be confused with spelt! The two are not the same and are not interchangeable. Farro is the ancestor of all wheats known today, including soft and durum wheat, it is documented that its cultivation dates back to 7000 BC in Syria and Mesopotamia, where it was used for the preparation of porridge and buns. Farro has been the staple food of the Assyrians, Egyptians and all the ancient peoples of the Middle East and North Africa: the Romans used to prepare puls with farro flour, a soft polenta which fed the soldiers and the populace. With the emergence of wheat, Farro suffered from a “moment of crisis�, but not in Garfagnana where it has always been cultivated and is still ground in ancient stone mills. An excellent source of protein, fiber and nutrients like magnesium and iron, and while it does contain gluten, it contains lower levels than today’s wheat, and if prepared properly, the gluten is pre-digested and broken down by sprouting and fermentation like a sourdough process. This makes it much more tolerable with anyone sensitive to gluten.
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As wheat, it contains the gluten protein, which is found in the grains wheat, barley and rye, and is most definitely not gluten-free. The Garfagnana Farro that in 1996 received recognition by the European Union of Protected Geographical Indication (PGI) must be grown on suitable soils, poor in nutrients, in a range of altitudes between 300 and 1000 mt above sea level. The seeds are sown in the autumn, in previously prepared soil, using a substance named Triticum dicoccum. The production of Garfagnana Farro, as was customary in the area, has to be done without the use of chemical fertilizers, pesticides and herbicides: given the high hardiness of the plant, Farro cultivated with the traditional technique is in fact an organic product. The Farro harvest occurs in summer, with normal grain combine harvesters. The geographical link with the Garfagnana Farro form an inseparable pair and presents special characteristics such as to make it easily distinguishable with respect to Farro grown in other areas. www.lapetrognola.it
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La Birra
Artigianale
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LA PETROGNOLA A CRAFT BREWERY IN THE HEART OF THE APUANE MOUNTAINS. Words and Photo by Luca Lari
T
uscany is famous worldwide for its wine and oil and for its food and cuisine but, in recent years, it has also developed a reputation and become a very good destination for breweries and craft beer. One special brewery can be found in the Garfagnana area, in the Tuscan northwest, surrounded by mountains rich with history and fabulous landscapes. La Petrognola is a craft brewery that tells the story of a man who turned his passion into something more than a job; into a mission. We meet Roberto Giannarelli at his brewery in Piazza al Serchio, a little town of the Apuane Alps on a morning in June. As we enter the brewery, the smells of the ingredients welcome us in the best way immaginable. Roberto is a beautiful surprise as well, he greets us with a big smile on a face that doesn’t hide his tiredness. La Petrognola is a family managed brewery of which he’s the owner, founder, brewmaster, and basically the one who cares for every detail involved in the production of his beloved beer. This is the reason for his tiredness, but at the same time, for his happiness. “I worked two jobs for seven long and tough years”, Roberto tells us. “I was a lorry driver during the day and some sort of brewmaster in my free time. I started making beer in my mom’s house, using her ladle and pot, a thermometer and some other minimal tools”. At first, Roberto’s beer was restricted to his lucky friends and relatives, who immediately appreciated the original taste of the recipes made with the famous “farro della Garfagnana”. In 2005 Roberto bought the first small plant of one hundred litres, developing his so-called home-brewery into a room of eight square meters. He delivered his new beer to some local pubs and received very positive feedback from both the pub owners and their customers. “At that point I was pushed to do something more, to keep
up with demand for the increased request of my beer and also to respect the italian laws and bureaucracy required when producing and selling a food item”, says Roberto. The big jump was made possible with a bank loan of 160 thousand euros to buy a bigger plant with cooking facilities for five hundred litres plus two 1500 litre fermenters that would yield production of one thousand litres per week! “When I asked my bank for the loan, at first they declined my request but I trusted in my idea and didn’t give up until another bank gave me enough money to allow our business to grow into what we are today”. In these times of big-brands, expensive marketing and cost-cutting, it makes us wonder, what would have happened to La Petrognola if the bank hadn’t trusted this middle-aged man with the weird idea of brewing his beer near the top of a mountain? Thanks to the bank’s support, Roberto now employs five people in the brewery and together, they made 2200 hl of beer in 2017. A quarter million “La Petrognola” beer bottles were shipped to Italy, Japan, Holland and the Vatican State in the same year. Roberto tells us that there’s no secret to his beer, just passion and excellent ingredients are needed, next to experience and a love for brewing. La Petrognola has its distinctive signature with the “Farro della Garfagnana”, used in the beers’ recipes since the very beginning. La Petrognola has twelve labels for different styles of beer, from the belgian amber to the Ipa, from the weizen to the “marron”, which is the beer flavored with chestnuts. Roberto is really proud to share his beer with us and of course, we were very happy to taste it, as it was just what we needed after our long road trip to La Petrognola. If you happen to spot a bottle from this brewery, you really should take some time to taste it and, using your nose and your mouth, discover a little part of what Garfagnana has to offer.
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Pietrasanta
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In Season In Summer FRUIT / FRUTTA
ALBICOCCA
VEGETABLES / VERDURE
CILIEGE
AGLIO
BARBABIETOLA
COCOMERO
MELONE
MORA
CICORIA
CIPOLOTTI
FAGIOLI
FAGIOLINI
LATTUGA
PEPERONI
MIRTILLI
PERA
POMODORI
RIBES
RAPA
SUSINA
CETRIOLI
MELA
PISELLI
PESCA
BIETOLE
FICO
CAROTE
FRAGOLE
ASPARAGI
LAMPONE
RAVANELLO
ZUCCHINE
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experience
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