Formenton Otto File
Somewhere it’s called “the King2s corn” afer the fact that King Vittorio Emanuele II, appreciated a lot this kind of cereal and encorauged the production in Piedmont.
In Tuscany, or better in the Lucca district, it’s called “formenton”. In the smallest sectors of history and culture the small corn of this wild cereal are still cultivated. Long and thin, sorrounded by eight ranges – not one more, not one less -of big grain, golden or red depending on the variety.
Once they’re grinded one obtains a rustic flour to prepare several delicious dishes: a classical “polenta” to serve a side of cured meat ad stewed, some cakes and a special bread enriched in zibibbo raisin, even served to accompany cured meat and cheeses.
The seeding is in may, after the ploughing ant the fertilization of the soil.
After the blossoming the young plants are thinned out and harvested manually.
After some 20-30 days of drying, the grains are picked and at last the griding, mainly in the old stone mills of the Valley.
The “ottofile” corn is a characteristic variety nowadays almost lost. Only 250-30 q. are produced every year and sold mostly in the area and in the rest of Tuscany after the growing success of the natural food.
Ok, we admit it, this is a girly article.
We’re talking shoes gorgeus colourful stunning shoes. A whole museum of them in fact. If you haven’t already visited the Museo Salvatore Ferragamo, add it now to your list of things to see in Florence. It’s a blissful way to spend an hour or two.
First, there’s the building. Palazzo Spini Feroni is a handsome 13 th century palazzo, which lies a few steps from Ponte Santa Trinità, the bridge over the Arno where Dante is said to have first set eyes on Beatrice (the building indeed houses the well named in her hnour, the Pozzo di Beatrice).
For over 70 years now the Palazzo has been the headquarter and flagship store of the shoemakers Salvatore Ferragamo.
The museum is on the lower floor, below street level, a tranquil refuge from the noise of modern Florence. You enter from the Piazza Santa Trinità the column of Giustizia in the centre facing down Via Tornabuoni and its designer shops.
Immediatly there is an aura of effortless style – cool music, carefully modulated ligthting. The first section of the museum introduces us to the man himself, Salvatore Ferragamo. Born in 1898 in the small town of Bonito about 100 kilometres east of Naples, Ferragamo emigrated to United States in 1914.
He seems always to have known where is talents lay saying, “I was born to be a shoemaker”. His arrival in California coincided with the early heady days of the film industry, and it wasn’t long before he had opened the Hollywood Boot Shop (great name).
By the time he returned to Italy in 1927 and settled in Florence, his reputation as shoemaker to the stars was already established and was to continue throughout his life. It was a reputation based on shoes which were beautiful, exquisitely made, and comfortable.
They were also famously light, as shown by photograph of a Ferragamo shoe with a 130 gm weight added to the scales to make it balance with an “ordinary” shoe.
We see photographs of Salvatore Ferragamo at shoe fittings with famous film stars of the 1930s, ’40s and ’50s, and bringing the link with showbiz up to date, another room is also showing a short documentary on the making of the recent film “Australia” the Ferragamo company made all Nicole Kidman’s shoes for the film. Other displays feature extracts from the Hollywood shop’s order book, a mock workshop showing the shoe-making process, with the lasts made for famous wearers, and orginal sketches and artwork used for advertising campaigns.
But the real stars are the shoes. On display at any time are hundreds of shoes from the museum’s permanent collection of over 10,000, documenting Ferragamo’s career up to his death in 1960, and beyond.
Almost a century of history told by foot wear. And what shoes! Sandals, court, shoes, wedges, ballerina shoes, ankle boots, lacing shoes, shoes with high heels, shoes with low heels, all of exquisite workman ship. And shoes in every material imaginable – not only in calf, suede, snakeskin and kid, but also in cork, satin, straw, glass, and even a pair of high-heeled sandals in 18 ct gold made for a wife of an ( unnamed) Australian tycoon.
Museo Salvatore Ferragamo is open every day except Tuesday.
Disabled access. Entrance euro 5,00.
Proceeds from admission and gift sales support young shoe designers. Book if visiting in group of 10 or more. www.museoferragamo.it – Telephone: +39 055 3360455/456
Tuscan products: chestnut flour of the Garfagnana
The cultivation of chestnuts in Garfagnana area, has its origins far in the past and has spread across the whole area. Chestnut flour is made from the harvested fruits. This is the sweet flour which comes from stone milling of the previuously dried chestnuts.
Historically, the drying of the chestnuts is done in a specifically designed barn called “metato”. Today those barns are built from stone or brick and are generally distributed throughout the chestnut woods, of varying size and divided halway up by a floor made of sticks of wood laid next to each other (the “canniccio”), over which the chestnuts are laid. A small flameless fire made from chestnut logs is set below, the smoke rising through the chestnuts to dry them slowly for about 40 days, leaving them ready to be shelled and ground.
The most widely used varieteies are Carpinese, Pontecosi, Mazzangaia, Pelosora, Rossola, Verdora, Nerona and Capannaccia all suitable for transformation into flour. The maximum production capacity allowed is 3,500 kg per hectare.
The DOP Chestnut flour of the Garfagnana is very fine to the touch and on the palate, the colour varying from white to dark ivory and a typical chestnut odour.
The area of production includes the municipalities of the province of Lucca – Castelnuovo Garfagnana, Pieve Fosciana, San Romano di Garfagnana, Sillano, Piazza al Serchio, Minucciano, Camporgiano, Careggine, Fosciandora, Giuncugnano, Molazzana, Vergemoli, Vagli, Villa Collemalndina, Gallicano, Borgo a Mozzano, Barga, Coreglia Antelminelli, Fabbriche di Vallico, Bagni di Lucca.
The flour is used to make a particular type of polenta, and sweets or cakes such as “castagnaccio” and “frittelle“.
During the two wars of the 20th century it was the food that allowed the local population to survive.
The Teatro di Verzura at Villa Reale
What better month than Mayfor a visit to the sumptuous grounds of the Villa Reale at Marlia?
Here will find one of the best preserved historic gardens in Italy. The Villa itself was known to have been in the hands of the Buonvisi family as far back as the early 1500s, but it was only in 1652 when it was acquired by the Orsetti family that the gardens were first laid out and planted with various species designed to create a baroque style landscape.
The so called “Teatro di Verzura” dates from this period, going back to around 1680, from which time it has remained unchanged.
But what is a Teatro di Verzura? It is an open hair theatre, in which natural forms such as artfully placed and trimmed trees, hedges and shrubs make up the backdrop, the wings and the stage, creating the architectural structure with the decorative elements then supplied by statues, seats and columns.
The origins of these natural theatres are not clear; they are thought to have been used for simple or povere performances, poetry readings, songa and open air concerts. By the early 17th century, the art of topiary was already well developed, especially by Roman gardeners, seeking to “sculpt” trees by pruning them in reconisable forms. The box tree, they yew and the laurel lent themselves especially well to being shaped in the form of human figures, hunting scenes and animals. From these origins arose the strange architectural phenomenon of the late 1600s that we know know as the Teatro di Verzura.
The theatre at Marlia, while not unique, is certainly a rare and brilliant example of topiary, preserving the original 17th century greenery. It is more elaborate and better preserved, for example, than the one at Villa Garzoni at Collodi, or those at the Villa Gori and Villa Sergardi at Siena.
It cnsists of a stage, wings and backdrop of evergreen cypress trees, a prompt box in appropriately enough, box wood, a rostrum for the conductor, stalls for the audience with box hedges setting out the rows of seats, and series of bow-fronted opera boxes, entirely constructed from greenery.
A row of little semicircles of boxwood runs along the proscenuim arch to hide the lights used for evening performances.
While traveling in Italy I discovered that humans realized how very important animals were to their advancement in history. You see animal sculptures everywhere in Italy.
The role of animals in history is of such great importance that mankind would not be where they are today without us. I might go so far as to say they would still be in the Stone Age.
Think about it humans! Where would you be without us? Here are some pictures of sculptures featuring animals in Tuscany.
