Unsung Local Heroes III

Otello Miliani: a Testament to Hard Times

Otello Miliani

This post is compiled thanks to a volume published in 2017 by the CGIL, or Confederazione Italiana del Lavoro under the aegis of the Greve in Chianti city council. The interviews included in the volume were almost all carried out by Maria Giovanna Bencistà. I here translate and summarize an account from 2015-16 when Otello Miliani was almost 80, which runs over 37 tightly-spaced pages, interspersing it with salient details from the other interviews.
 

the territory around Badia Passignano; today practically a grapevine monoculture, in Miliani's childhood this land was dedicated to mixed farming

Otello Miliani was born in 1936 at Poggio al Vento, near Badia Passignano in the Val di Pesa, into a family of sharecropper farmers (who worked under the mezzadria system). His story, growing up, is typical of his time, yet simultaneously striking in its exceptionality. When he was born there were 13 family members in the house with the grandfather as head of affairs (capoccia) and the grandmother as head of the household (massaia) according to an age-old tradition.

an Historical Florentine Pudding

Lo Zuccotto

Recently a friend brought a pudding to Le Ripe which I had heard of but never tasted.

The pudding casing, made of spectacularly red sponge slices, hid a half-chocolate mousse, half-cream filling studded with candied peel and chocolate kibbles


 Formerly known as Caterina's Helmet, this Florentine pudding hails from the days of the Medici.

 In the late Renaissance at the height of the family's fortunes, Caterina de' Medici, Lorenzo il Magnifico's daughter, as queen of France, apparently asked Bernardo Buontalenti to invent a new dolce to celebrate the Spanish ambassador's arrival. 

The triangular square

Piazza Matteotti, Greve in Chianti

Piazza Matteotti, looking south

Greve in Chianti is arguably the liveliest, most interesting and possibly most hospitable town in Chianti, but its square is indubitably the most attractive sight in Greve. Roughly triangular in shape, it is also distinctive for its porticoes around all three sides and the chain of terraces above, from where residents, restaurants and bed and breakfast places enjoy the view.

the beautiful porticoes of Greve: shade in summer and shelter in winter

Where monks still tread

Badia Passignano: the Abbey

Plumb in the middle of the Antinori wine estates in Chianti sits the Abbey of San Michele a Passignano, in its nest of cypresses.


The abbey was founded in 890 and joined the Vallombrosans (a branch of the Benedictine Order), in the 11th century, under the aegis of Saint John Gualbert or San Giovanni Gualberto (for more on his Vallombrosans see a previous post, Of Monks and Forests). The abbey has been renovated several times and resembles more a castle than a monastery. 

the forbidding western bastions of the monastery, softened by caper bushes

Walking around Villa Vignamaggio

Past, present and future revealed in a Chianti valley
- part one -

Anyone who has seen the 1993 film version of Much Ado about Nothing by Kenneth Branagh, may recall the opening scenes where the male protagonists gallop home across a verdant valley towards the villa in Messina where the play's action takes place. The villa featured splendidly in the film is not in Sicily but in the Comune of Greve in Chianti, a 15 minute drive from Le Ripe: Villa Vignamaggio.

Although the Vignamaggio website includes a cursory (and not entirely accurate) summary of the Villa's interesting history, it excludes its context: the broad, sun-filled valley it dominates. 

Machiavelli's Oak

A frustrating yet fruitful exile

Florence seen from just outside the village of Sant'Andrea in Percussina where the Machiavelli family had their estate.

In 1513, when the historian, politician, diplomat, philosopher, author and playwright Niccolo' Machiavelli (1469-1527) was banished from Florence to his family estate by the reinstated Medici, it must have been poignant, if not painful, to see the towers and cupolas of his native city, so near and yet so far.

The Machiavelli seat, essentially a grand farmhouse, on the road winding between Florence and San Casciano: on the opposite side of the road stands the Albergaccio inn which Machiavelli frequented. Note the height and security of the lowest windows: the road would have been a busy and at times dangerous thoroughfare.

the entrance to L'Albergaccio

A 19th century vision of 15th century Florence

George Eliot and the Passage of Time in Florence

"...a world-famous city, which has hardly changed its outline since the days of Columbus, ...seeming to stand as an almost unviolated symbol...to remind us that we still resemble the men of the past more than we differ from them..."

Florence in 1490: bird's eye view from the west

In her novel Romola (1862-63) George Eliot (or Mary Anne Evans) offers a vision of Florence which, besides displaying her deep grasp of the history, language and culture of the city during the Renaissance, regales the modern reader with a vivid portrait of the town at the height of its glory.

 

1914 edition of Romola

But it is her Proem which interests me here. Eliot begins her preamble to Romola by underlining how little many world-famous cities have changed over the centuries, at least at their historical hearts. Her assertion held truer in the 19th century than it does in the 21st, but in the case of historical Florence, it is arguably still - miraculously - the case.

How to Build a Farmhouse: an 18th Century Architectural Treatise

Delle Case de' Contadini

Ferdinando Morozzi

1770

...farmhouses can be improved, not for the sake of it, but in order to remove many fatal mistakes, as much for the Farmers' lives as for the damage incurred for the owner who cannot derive profit from his Possessions...therefore I will try to discuss this, setting out rules for building anew, modifying and enlarging pre-existing homes based on experience, and the Authorities of the most serious Writers...

...non poco si possono migliorare di piu' le Case de' Contadini, non per il lusso...ma affine di togliere ...tanti errori..funesti...alla vita de' medesimi Contadini, quanto ancora di pregiudizio notabile all'interesse di chi possiede, che non ricava dalle Possessioni quel frutto compensativo...percio'...io procurero' di discorrere sopra le medesime...esponendo le regole per...edificare di nuovo, e correggere, ed aumentare le gia' fatte le quali cose tutte saranno appoggiate all'esperienza e corredate colle Autorita' de' piu' gravi Scrittori... 
 

Delle case dei contadini, link to book

On Peasants' Houses is the title of this slim volume published in late 18th century Florence by one Ferdinando Morozzi (mentioned in the post on Le Ripe History). The Tuscan case coloniche or farmhouses inhabited by  sharecroppers, but not owned by them, (see the post on Sharecropping in Tuscany) are the typical clusters of rural buildings for which this part of the world is famous. They are often misnamed villas, but villas were the homes of the gentry and nobility, are grander and often surrounded by formal gardens. 
 

restored casa colonica not dissimilar to the one in Morozzi's drawing below: some might erroneously call it a villa but it is really just a wonderful old farmhouse beautified

Case coloniche are the solid, square stone structures where the farmers, the 'peasants' of the past, lived and worked. Arches, dovecotes, external staircases, towers, terracotta grills on the barns for aeration, are regular features; locations vary but tend to be central to the farmland and on an elevation, if available.

From Farm to Forest

Back to Nature

registry map of Le Ripe

When we first arrived at Le Ripe we invited an 'arboreal archaeologist' to examine our trees. We rather fancied that some of the old apple trees might have proved interesting and we thought she could advise us on how to proceed with new plantings at Le Ripe. 

When I showed her the dense woods, full of brambly undergrowth, trees reaching for the sky through thickets of blackthorn and juniper and said something cheerful about it all having gone back to nature she stopped my ramblings with a curt: 'This is land which has degenerated'. 

Although at the time we were shamed into silence, we now have a different perspective (see the post on Monks and Forests) on the fate of forests. 

However, paying respect where respect is due: Le Ripe was once a fully working farm where the native woods provided fuel, forage, fruits and timber for tools; where grapes, cereal crops and fruit trees were cultivated; where livestock grazed; where bamboo and certain trees were planted for their agricultural usefulness. Since it was abandoned in the 1950s or even earlier, the land has been steadily reverting to its pre-agricultural state, 'degenerating' in a sense, although regenerating in another sense.

Until recently, apart from a detail in a neighbour's family shot from 1946 (see below), we had no documentary record of this process, but now, thanks to the internet we have found aerial photographs, starting in 1954, which provide a striking testimony.

2013: for the purposes of comparison with 60 and 70 years ago

The entire area captured in these aerial photographs is of great interest, but for the purposes of our exercise, the Le Ripe property comprises the central area of the photograph, bordered to north and east by the Pesa river, to the south by creeks and to the west by the crest of the forested hill (see map at top of post).

Le Ripe 1946, from the Pesa river (the houses in the foreground belong to Casanuova delle Ripe, a hamlet below Le Ripe): note the terracing, the tracks, the sparse vegetation. these were pastures, grape terraces and fields for growing cereal crops to which the large ricks of oats and wheat bear witness.

Abbadia San Salvatore, on the slopes of Monte Amiata

 A Town Full of Surprises

 

Monte Amiata

It is not where most tourists stop on their way around Monte Amiata in southern Tuscany. Abbadia San Salvatore is a township of 6000 souls on the northern slopes of Tuscany's most easily identifiable mountain. Unassuming and ordinary, it is the sort of place you drive through hurriedly, on your way to somewhere interesting.

And yet we stopped: was it that lunch beckoned, or was it that we noticed a sign proclaiming Abbadia San Salvatore as the home of an ancient Bible? Somehow the quest for lunch and our curiosity combined to make us stop. We would discover that this seemingly dull, grey town held several surprises.

The Garden at Villa La Foce

Foreigners in Val d'Orcia

Cecil Pinsent's closed green garden at La Foce with its crisp hedges. Monte Amiata is palely visible to the south-east

If you look at the historical black and white photographs on the Villa La Foce website, as backdrop to the depictions of hardworking and celebrating sharecropping farmers, you will see a lunar landscape: harsh, barren-looking hills, and stretches of empty terrain succumbing to the plough for the first time. Today's intensely-cultivated, ordered and verdant sweep of valley and hills with the famous cypress-lined road winding up the hill opposite La Foce were unimaginable 100 years ago. 

Val d'Orcia before the new owners of La Foce intervened

This ostensibly timeless scene has come to symbolise Tuscany, despite the fact that it represents only the area south of Siena, that it is completely man-made and of recent creation, and that its creators were a British garden designer, a British-American woman and her Florentine husband.

Villa Poggio Torselli

The Queen of Villas and her Garden

Villa Torselli seen from its cypress-lined avenue, a perspective visible when driving along the road from San Casciano north towards Ospitaletto. Apparently dubbed the Queen of Villas (although when and by whom is unclear)

the austere facade is surmounted by terracotta sculptures of the four seasons, a theme reiterated throughout the villa and the leitmotif of the garden, not surprisingly

Yes, that is Florence 8 kilometres to the north and yes, that is the Duomo, barely perceptible right of centre, although to the eye it was quite distinct

Museum of the Works of the Cathedral, Florence

The Latest Reincarnation of the Flower of Florence

overview:

The Romans called Florence Florentia. Since the 11th century the city's crest has been the giglio or lily (fleur-de-lis but in fact a stylised iris). Struck in Florence in 1252, the first commercially important gold coin in Europe was called the fiorino -florin- for this reason, and bore the fiordaliso on its obverse side, with Saint John the Baptist, Florence's patron saint, on the reverse. Florence's imposing and iconic Cathedral (or as it is called here, Duomo), is dedicated to Saint Mary of the Flower while the Baptistery is dedicated to Saint John the Baptist. All this is just a roundabout way of underlining the symbolic potency of the flower to Florence's story.

Sculptures in the brand-new light-filled atrium

Santa Maria del Fiore was commissioned in 1294 by the Commune of Florence to replace Santa Maria Reparata (a church which, in my view, occupied the available space far more appropriately than its successor). Initially the 'Opera' referred to the institution which financed and oversaw the construction of the Duomo; over time the Opera evolved to oversee the Cathedral's continual conservation and decoration and incorporate the Baptistery (completed in 1128), Giotto's Belltower (begun in 1334) and the Museum.