Tucked away on the slopes of Mount Solenne in the Valnerina lies one of the best kept secrets in the region: San Pietro in Valle. This former Benedictine abbey—now a four star historical residence—was established in 710 on the site of a Syrian hermitage (One fun curiosity: among the stone fragments mounted on the interior walls, look for the bass relief of a monk with Asian facial features. Legend holds that this is a rendering of one of the two Syrians who founded the original hermitage in the 6th century.) and was home to abbots for the next 800 years.
The outside of the abbey is breathtaking; the church and cloister are surrounded by thickly wooded fields and look out over the steep river gorge and the gradually receding mountain peaks along the horizon.
Directly across the valley from the abbey sits the walled fortress town of Umbriano, completely abandoned since 1950. Founded in 890 to defend the abbey from advancing Saracens, popular tradition holds it to be the first city of Umbria.
Though locals hold that the citadel of Umbriano was the first Umbrian town, in truth it lies across the river from the ancient Umbrian territory, in the land once ruled by the Sabines. But it’s a good story, and a fascinating ghost town to explore.
Guided tours take visitors through the interior of the church, covered in frescoes from the 12th and 13th century (note the portrait of the Three Wise Men, one of whom apparently had second thoughts), and filled with stone work including an Etruscan altar, an 8th century Lombard high altar, and a Roman sarcophagus holding the remains of Duke Faraoldo II of Spoleto, the abbey’s founder.
The frescoes inside the church have recently been restored and are a fine example of the leap from Byzantine to the more natural Umbrian school.
My favorite detail: the original altar (now to the left of the central Lombard altar), with its semi-circular corridor which passes behind the tiny nave. Symbolizing the purification of the spirit, it begins with the wide opening level with the floor, and gradually rises to end in a tiny doorway a step above floor-level at the other end. I’m not sure if my spirit was actually purified, but having to squeeze my bulk through the final aperture sure made me ponder how often I commit the cardinal sin of gluttony.
One of my favorite corners of Umbria is the dramatic and wild Valnerina, where craggy mountain peaks loom, tiny creche-like hamlets perch precariously on cliffs, and the serene Nera River meanders its way through the valley.
The abbey is open to visitors October through March Saturday and Sunday only (10-12:30/2:30-4) and April though September every day (10-1/3-6). The church is not well lit, so be sure to choose a sunny day to visit otherwise you will not be able to see the frescoes well.
I’ll admit it. I tend to wax lyrical about the Valnerina. The dramatic valley–where the crystalline Nera river runs under steep rocky slopes, upon which tiny creche-like stone villages perch precariously–lends itself to waxing. The scenery in this largely unsung regional park is wild and rugged, stunningly beautiful yet foreboding. The weather can go from sunny skies to black clouds in a matter of minutes, and the isolated villages and claustrophobia-inducing sheer rock walls remind you that millenia ago the inhabitants of these inpenetrable craggy peaks held out against conversion to Christianity long after the rest of the region.
A spring storm in the Valnerina near Meggiano, Umbria, Italy
I was waxing thus to an Umbrian friend awhile ago—a fellow passionate aficionado of the Valnerina–and telling him how I love the juxtaposition of the bucolic scenery with an unsettling underlying darkness (a David Lynch-esque feel, if you will), and he nodded knowingly and said, “And, of course, there’s that business about the dragon.” I nearly spit out my drink. What?!? What dragon?
It turns out–as so often happens–I am practically the last person in Umbria to find out about the dragon. Everyone knows the story of Mauro and his son Felice, two Syrian pilgrims who arrived in the Naarte region (from the ancient Nare or Naarco River, from which the modern Nera derives) roughly six centuries after Christ’s death to proselytize to the recalcitrant locals. As fate would have it, they were having a bit of trouble with a nearby dragon and, in what must have seemed like a serendipitous means of killing two birds with one stone, called on Mauro to prove his faith by taking care of business. No one knew precisely where the beast lived (his toxic breath kept them from getting too close), so Mauro set off at dawn with a reed walking stick and mason’s hammer to search the monster out. When he reached the general area where the locals had indicated the dragon might be found, the holy man stuck his stick in the ground for safe-keeping while he set about building a stone hut for shelter. The stick immediately sent out roots and shoots, and Mauro took it as a sign that God was covering his back in this dragon thing. He returned to his masonry work and after a short time caught the unmistakeable sulfuric odor of dragon-breath…if you’ve ever woken beside someone who dined on aglio, olio, peperoncino the night before, you know what I’m talking about.
San Mauro (and/or San Felice) slays the dragon from the facade of the church of San Felice di Narco
Though he feared his end was near, Mauro took his mason’s hammer and somehow managed to skirt the flames, avoid the sulfur, and overcome the height difference (accounts speak of a good 27 meters of dragon) to bonk the monster on the head. While the unconscious beast lay motionless on the ground, Mauro used his hammer to detach large pieces of rock from the cliff above, which continued falling on the dragon until it died (apparently of blood loss, as the river ran with dragon’s blood for three days and three nights). This begs the question as to why Mauro didn’t simply finish the job with the hammer rather than go to all the trouble to detach stones from the cliffside, but the ways of saints and screenwriters of horror movies are a mystery to mere mortals. Regardless, the locals needed no further proof of Mauro’s holiness and his God’s bad ass-edness, so they promptly converted. Mauro and Felice lived out their lives in prayer and service (Felice died in 535 AD and Mauro in 555 AD) in the Valnerina.
The lovely Romanesque San Felice di Narco
Some of the details of the story remain unclear. There may or may not have been an angel involved. The dragon may have actually been slain (dragons never seem to be killed, only slain) by Felice. There is a nurse who pops up now and then and seems to have died of fever with Felice. But the legend holds, and the area still bears testimony of it on the facade of the lovely Romansque Church of San Felice di Narco near Castel San Felice. If you look carefully at the freize under the intricately carved rose window, you will see a detail of depicting the slaying of the dragon (not to scale, please note) and inside the crypt the sarcophagus of the Saints Mauro and Felice. The nearby town of Sant’Anatolia and Church of Sant’Anatolia also pay homage to the two saints by adopting their surname.
Sant'Anatolia di Narco in the Valnerina
I was talking about this dragon story to another local friend in that cynical, sardonic tone that we hipsters use when discussing Self Help Gurus, the Easter Bunny, and Compassionate Conservativism, when he said, “Yes, and there’s that dragon bone in Città di Castello, of course.” More drink spitting ensued.
I discovered that the Valnerina wasn’t the only area in Umbria known for harboring fire-breathing winged reptiles. In the pretty upper Tiber Valley, a rolling countryside in the north of the region bordering on Tuscany, yet another dragon was slain (see?) by a travelling Christian missionary, Crescenziano (a Roman patrician known as Crescentino in Latin texts). Having given up his worldly goods to the poor, Crescenziano arrived in the area on horseback and was immediately put to task by the local pagans in dispatching their troublesome dragon. He killed the beast, converted the inhabitants, and was promptly martyred by the Romans for his trouble.
The iconography of San Crescenziano almost always depicts him on horseback in the act of killing the dragon.
Traces of this legend appear in a small bass-relief in the tiny country church of Pieve de’ Saddi, near Pietralunga (built on the spot where Crescenziano was martyred), and the coat of arms of Urbino’s cathedral—both of which depict Crescenziano on horseback impaling the dragon with a long spear. More convincing than this, however, is the 2.6 meter dragon rib bone, long conserved in the church of Pieve de’ Saddi until being moved to the cathedral in Città di Castello, where it is still stored, and a second rib bone, measuring 2.2 meters, kept in another tiny country church near Pieve de’ Saddi, San Pietro di Carpini. Scientists, skeptics, and spoilsports speak of the vast expanse of water which covered the area during the late Miocene and early Pliocene eras (That’s roughly 23-5 million years ago. I googled it.) which was home to vast numbers of water and land animals, some quite large, of which numerous remains have been found by paleontologists over the years.
The church at Pieve de' Saddi marking the spot where San Crescenziano was martyred.
Academics, historians, and spoilsports also speak of the symbolism and allegory attached to the role of the dragon in myths. Both Umbrian legends originate from areas where there is a waterway—once interspersed with standing pools of fetid water harboring disease– and the work of draining and reclaiming the land for agriculture and ridding the area of disease may be symbolized by the slaying of a toxic, deadly monster. Man’s triumph over the wildness of nature, so to speak. The dragon was also historically used to symbolize paganism, and the Christian slaying the beast protrays this innovative religion’s advance.
Leonardo da Vinci's famous rendering of a dragon battling a lion.
Whale bones. Malaria. Swamp reclamation. Religious wars. Sure, it all fits, but what fun is that? I’ll take the fairy tale version, and continue to wax lyrical about the Valnerina (and all of Umbria) and her dragon.
Umbria hosts over 20 music festivals each year, an astonishing number given this region’s tiny size and population (Ikea hasn’t even deemed it worthy of a store yet). Even more surprising, however, is the world-class quality of the music festival scene–belying the otherwise sleepy, provincial character of these bucolic rolling hills and medieval stone villages.
The height of the festival season is the summer, of course, as organizers take advantage of the warm evenings to hold concerts and events in the stunning piazze and gardens across the region, but good listening is to be had even in the dead of winter.
Here are some of the best annual music festivals, and why you should take the time to stop by for a listen:
Why: Umbria Jazz is the king of Umbria’s music festivals; a juggernaut of an international event which stretches over two weeks and attracts some of the biggest names in jazz (and beyond—I’ve seen R.E.M., Alicia Keys, and Eric Clapton here, as well). The lively feel in Perugia during UJ is irresistible—take a walk down the main Corso and pop in at one of the free outdoor concerts if you don’t want to spring for tickets at one of the headlining concerts. If you are driving into town for a mainstage event, give yourself plenty of time to park and get settled before the set starts—traffic is notoriously a gnarled mess the evenings of sold-out shows. I get to town early, take a fun stroll downtown, and then head to the venue (usually the Santa Giuliana stadium) about an hour ahead of time, where I buy a beer and sandwich from the stands inside, dine on the lawn, people-watch in leisure.
If you can’t make it to Perugia for Umbria Jazz, don’t despair. Umbria Jazz Winter is held every December in Orvieto, and Jazz Club Perugia’s season runs from November to March, featuring Italian and international musicians plunking out some of the best jazz around.
If you are curious about the Italian jazz scene, try Gubbio No Borders Italian Jazz Festival in August. These are the heppest cats in the Boot.
Festival dei Due Mondi
Why: If Umbria Jazz is the king of Umbria’s music festivals, the Spoleto Festival—as it is colloquially known—is the queen. UJ powers through with the sheer force of its size and star power, where the Spoleto Festival finesses the fine arts with grace and dignity, bringing the lovely city of Spoleto to life along with it. More of an arts than strictly a music festival, the program is rich with opera, classical music, dance, theater, and cinema events attracting both the biggest names in art and theater (Isabella Rossellini and Baryshnikov were guests this year) and promising young performers. If you are looking for an excuse to visit Spoleto (which, by the way, you don’t need. This stately hill town is worth a visit on its own.), this is a great one.
Where: the towns surrounding Lake Trasimeno
Why: I’m from Chicago, so nothing says “summer” to me like an outdoor blues show on a lake shore. Yes, I realize the venue, crowd, and lake are all about 1/100th of what I’m used to, but the vibe at Trasimeno Blues is regardless big fun (and, given that public drunken antics are rare and frowned upon in Italy, this is one great blues show that you won’t risk vomit-splattered shoes at.). The concerts are held at a number of locations around Lake Trasimeno, but I am especially partial to those at Castiglione del Lago’s romantic medieval fortress.
Trasimeno grooves all year long, so if you won’t be around in July try Bianco Rosso & Blues (concerts with dinner and wine tasting from local vintners) from August through October, or Soul Christmas during the month of December.
Sagra Musicale Umbra
Why: Location, location, location. Yes, the classical music at the Sagra Musicale Umbra is fabulous, but I would be a big fat liar if I didn’t admit that usually the main reason I attend these concerts is the venue. SMU’s events are often held in churches, abbeys, and palazzi generally closed to the public, and I have been known to sit through an entire harpsichord concerto (an instrument I can usually tollerate for a maximum of 12 minutes. 13, tops.) if it will get me into a mysterious monument I have passed a million times but never managed to find open—in fact, I did just that last year and finally saw the elegant Romanesque interior of Spello’s delightful 11th century San Claudio church. If you are picking through the program trying to decide on a concert, I suggest you give heavy weight to its location. The music may fade with time, but these heart-stopping historic halls certainly won’t.
Perugia’s Classical Music Foundation season program runs from October to May and equals the SMU in quality of music, if not eccentricity of venue. Concerts are held in Perugia’s Sala dei Notari, Morlacchi Theater, and San Pietro Basilica—three stunning settings, but not much cloak and dagger-ing has to go on to visit any of the three on your own.
Umbria Folk Festival
Why: If you’re wondering what else is out there on the contemporary Italian music scene besides winners of X-Factor and Tiziano Ferro, the Umbria Folk Festival is the perfect opportunity to find out. Many of these artists put a hipster spin on historic regional Italian musical traditions or instruments, so expect to hear echoes of the Tarantella and lots of guitar and accordian. Fun stuff (and many of the concerts are free).
Assisi Cambio Festival
Where: Palazzo di Assisi
Why: This nano-festival (last year Assisi Cambio Festival hosted a sum total of four concerts) is near and dear to my heart. One, because I think it is a shame and a scandal and a mystery that the powers that be in Assisi can’t pull their shit together enough to put on a decent music festival during the year (I mean, come on, Narni has a music festival. Narni. Really, people.). Two, because this little bon bon of a festival was the brainchild of a group of locals who decided to throw it together a few years ago, and they’ve done a damned fine job of keeping their momentum going. And three, because Palazzo (a hamlet right outside of Assisi) has a fetching little castle courtyard which is the perfect place to pop in for a concert on a summer night, and is exactly 43 meters from The. Best. Gelato. In. Assisi. So, to recap: Medieval castle courtyard, summer night, live jazz, best gelato. Need I say more?
Umbria World Fest (previously Canti e Discanti)
Why: I know there are a lot of Umbriaphiles out there who are feeling very blindsided by the left field choice of Umbria World Fest right now. Stay calm….I’ll walk you through it. Foligno often gets a bad rap, largely undeservedly. Located on the Umbrian plain, you won’t get any stunning views from this industrial town, but that doesn’t mean it lacks a pretty historic center which offers some of the best shopping, most authentic trattorias, and warmest people in the region. Foligno is Umbria’s friendly “Hi there, can I help ya?” Midwest to Perugia’s formal “Ahem, may I assist you?” East Coast, and is going through a cultural renaissance right now—of which this light-hearted arts festival is testimony. Last year I caught a Tarantella performance from a group of Pugliese musicians…there was much singing and dancing in the streets, despite the fact that 99% of the crowd couldn’t penetrate the thick Puglia dialect. Music is, after all, the universal language.
Festival delle Nazioni (Città di Castello in August/September): Classical music festival focusing on one guest country each year.
Preggio Music Festival (Preggio in July/August): If you’re hankering for opera, this is one of the few music festivals which feature it. (The other safe bet is Spoleto.)
Festival Pianistico (Spoleto in April): Classical music festival for piano.
Trasimeno Music Festival (Magione in June/July): This upscale classical music festival is the pet project of Canadian pianist Angela Hewitt and is held in the dramatic courtyard of Magione’s Castle of the Knights of Malta.
I have to fess up and admit that it took me years to finally work up the courage to check out what turned out to be one of my favorite festivals in Umbria.
My only other contact with anything resembling a medieval fair was the now defunct King Richard’s Faire outside Chicago, which is an event roughly 1/3 kitsch, 1/3 tacky, and 1/3 fat, badly dressed midwesterners (I feel I can say this with impunity, being myself a fat, badly dressed midwesterner). Actors wandered around the fairgrounds in costumes which can be described only as flower child 1980s Shakespearean, chitchatting in ye olde English, and selling “jars of mead” (Budweiser) and “sweet water” (Coke) from handbaskets. The food was whole turkey legs, eaten with one’s hands, and funnel cakes. The crafts were dried flower arrangements and toy swords. I loved it, to be fair. But I was 8, to be honest. When I was 8, the height of cuisine was chili-mac, the height of fine wine was Lancers (Grandma drank it), the height of music was K-Tel’s Disco Nights, and the height of culture was King Richard’s Faire.
So it was with much trepidation that I approached the Mercato delle Gaite in Bevagna, imagining obnoxious jesters, marauding costumed concessionary hawkers, and just simply too much bad taste for my grownup self to handle. Instead, this ten day long festival set in the 1300s is the antithesis to all of that, and a damned good time for both adults and kids, to boot.
One of the principal differences is that the annual event—founded in 1983–is not simply entertainment but instead a competition between the four traditional gaite, or quarters, of the town of Bevagna: San Giorgio, San Pietro, San Giovanni, and Santa Maria. Each quarter earns points primarily based on their historical accuracy during each of the four competitions held during the festival; continuous and quite rigorous accademic research goes on behind the scenes and the festival’s jury is largely made up of historians and experts on fourteenth century Italy. Like I said, there ain’t no ye olde English-esque stuff going on.
The coat of arms for San Giorgio
San Giovanni's coat of arms
San Pietro flies these colors
The crest of Santa Maria
Another difference between the two festivals is, of course, the venue. Bevagna is an absolute jewel in the Umbrian plain, listed among the most beautiful villages in Italy. The festival’s four competitions all take place in the lovely main piazza, and the medieval streets, buildings, and courtyards which surround it. A charming place to visit all year round, this town really shines when all decked out for their annual festival.
The most important difference is, of course, the events themselves, four in all, which make up the competition between the gaite—first among them the mestieri, or artisan workshops. Each quarter has the task of organizing two different workshops which use both the techniques and technology of the 1300s to actually produce wares—which makes the Mercato delle Gaite unique in a region where medieval festivals come a dime a dozen.
The bell foundry...one of the "mestieri"
Over the years some of the less successful workshops have been replaced, others enlarged (this slow but constant evolution means that the trades have become more elaborate and spectacular with time), and now all are marvelous and fascinating.
The immense replica silk thread making machine
From the silk workshop–which raises silkworms, unravels the cocoons, and spins fine thread on a manual wooden contraption which fills an entire room and looks as if it jumped right out of one of da Vinci’s sketchpads of marvelous machines—to the paper workshop—which produces fine handcrafted paper by pounding rags with an enormous pulper powered by a waterwheel—to the bell foundry—which casts bronze bells on commission from churches and historical societies all over Italy—each workshop is manned by artisans in period garb who explain their trade as practiced 700 years ago. There are ten mestieri in all (two are permanent and non-competing) open to the public every night from 9-12 pm and Saturday and Sunday from 5-7 pm and again from 9-12 pm.
The apothecary's workshop
As long as you are headed into town to see the workshops, plan to have dinner at one of the four taverne (outdoor restaurants) organized by each gaita. The second competition which takes place during the festival–and figures into calculating the victor–is gastronomic. Each quarter of the city researches recipes and ingredients used in fourteenth century cuisine and offers the public a chance to taste the fruits of this research by creating a menu exclusively made up of historical dishes. The fare is heavy on meat (especially game), spices (this year I had a spice lasagna which was fabulous), and egg pasta and bread. You won’t find tomatoes (no tomato sauce on your tagliatelle), potatoes (no gnocchi), corn (no polenta), or any other ingredients which were brought back from the New World 200 years after the time of the gaite.
A banquet with period food and costumes
After dinner and before making the rounds of the workshops, you can stop in the central Piazza Silvestri and watch a series of theatrical and musical events in costume, or the archery contest (the third of the four competitions during the festival). Especially interesting is the Notte Medievale, a dusk to dawn medieval festival-within-a-festival with a full night of art, music, dance, and food.
Archers from the four Gaite prepare to compete in the piazza
The highpoint of the festivities, and the origin of the name Mercato delle Gaite, is the medieval market which takes place during the afternoons of the final weekend. Each quarter organizes a working market, where locals play artists, artisans, tradespeople, and farmers displaying their wares—the competition consists in trying to create the most interesting, artistic, and historically accurate market square. The feel of these markets really is a step back in time…each teems with customers weaving their way through the market booths, the din of the tradespeople hawking their wares and the live animals protesting their confinement, the smell of fresh flowers and herbs, cheeses, and dried sausages, the colorful garb of the costumed sellers and their stalls heaped with wares.
A market scene
I suppose the one thing the Mercato delle Gaite and King Richard’s Faire have in common is that you will find yourself inevitably bringing something home from both…what you end up bringing away with you from Bevagna, however, will never be a source of buyer’s remorse.
These photos were reproduced with permission of the Associazione Mercato delle Gaite.
I am quickly coming to realize that this little quest of mine to visit all the Umbrian villages listed by I Borghi Più Belli dell’Italia (to see how the whole crazy idea came to be, read here) is a total win-win (-win) situation. I either get to visit a town I don’t know well and discover its charm (win-Bettona) or have an excuse to spend half a day in a town I already know and love (win-Bevagna) …or finally make it to a town I have only heard about but never actually seen (win-Arrone. No, I haven’t made it to Arrone yet, but it will be a win when I do. I just know it.)
Right now is the perfect window in time to visit Bevagna, I town I already know and love, and this is why: remember that girl in high school who was nice and everything but nobody really paid much attention to her Freshman and Sophomore years, but suddenly and inexplicably Junior year all the cute guys suddenly seemed to discover her and she completely flowered under the attention but was still very approachable and just wandered around bewildered by her sudden luck but by Senior year had dumped her friends and fallen in with the popular crowd and become one of those stuck up bitches who always have the right jeans and spend all their time in the bathroom combing their hair and talking smack? Well, Bevagna is in her Junior year.
I remember ten years ago I had to beg people to visit Bevagna. “It’s lovely, it has a Roman mosaic in this lady’s garage, it has the prettiest piazza around, it’s flat (a big selling point in a region where the vast majority of towns are built on a 60 degree slope),” I would say. Now I have guests who pop out of their car upon arrival and announce that they want to visit Assisi, Perugia, and Bevagna. Which can mean only one thing: Rick Steves. But, hey, if it took the biggest jock in school to get the rest of the class to sit up and pay attention, I certainly can’t begrudge him. Now the town has dusted herself off, prettied herself up, organized herself a bit better, and welcomes her new admirers with a friendly, if slightly baffled, smile. She’s known all along what a gem of a town she is.
If you can, begin your visit by entering the city through the southern city gate, over a small bridge spanning the Clitunno River…to the left you can still see the public fountain where women once came to do their wash.
The bridge over the rushing Clitunno River at the southern gate is a perfect starting point.
Once you have crossed the river, stop for a morning cappuccino at one of the outdoor tables in this sleepy piazza (One reason you know Bevagna hasn’t yet sold its soul to the popular crowd: this is a town that still completely shuts down at 1 pm. You need to get there first thing in the morning or you’ll find the place deserted and the all shutters closed half an hour after you start poking around. I was there at 1 pm and it was as if the wizard behind the curtain suddenly threw a big switch at exactly 1:10 and the town shut off.) and watch the locals come and go.
From there, walk one block to Piazza Silvestri, Bevagna’s pride and joy. And rightly so—this delightful little piazza is home to two of Umbria’s loveliest Romanesque churches: the small, serious, hewn stone San Silvestro (take a peek at the crypt under the raised presbytery, typical of 12th century churches) and the larger, lighter, soaring San Michele Archangelo.
The interior of the church of San Silvestro uses columns with Egyptian-style papyrus leaves on their capitals--a bit of an historical mystery.
San Michele Archangelo--if you look closely at the stone work around the central door you can see clusters of grapes growing on vines. Bevagna is smack in the middle of historic wine country.
Begin your peramble down Corso Matteotti, where you can see Bevagna’s delightful Junior year mix of hipster sidewalk cafés, small historic workshops, artsy antique stores, and commercial establishments of the variety which serve real residents: butcher, baker, candlestick maker (or, more precisely, beauty salon)– glaringly missing from the more touristed hill towns in Umbria, tragically. (Another reason you know Bevagna hasn’t yet sold its soul to the popular crowd: they still have the completely charming and almost extinct Small Town Unofficial Municipal Council sitting in ancient wooden folding chairs along the Corso, holding forth loudly and passionately about sports, politics, and any passing female under the age of 82.)
Bevagna's Small Town Unofficial Municipal Council meetings are held on the Corso every day from dawn to dusk, excluding meal times. And the seating is assigned.
About halfway up the Corso, stop in at the Museo di Bevagna to get two tickets: one will get you into the museum itself, the Roman mosaic, and the Francesco Torti Theater. A guide from the museum escorts you to the second two, so you can first take a quick look at the museum. The staircase is lined with remnants of stone tablets and random pieces of sculpture mortared right into the stucco…a fetching show of creativity which apparently exhausted the artistic vein of the museum architects, as what follows is a pretty anonymous series of square white rooms with not much to engage a visitor artistically.
It's not a good sign when the most interesting thing in the museum is the stairwell. That said, the archaeological collection is currently closed to the public, so maybe there's still hope.
When you come back downstairs, your guide will walk you the two blocks to the marine-themed mosaic (now in a neat well-lit room with a raised walkway and explanatory tablets. When I first visited years ago, it was the floor of someone’s garage with a big iron padlock on the door, the key to which the nice lady across the street would toss into your hand from her second floor window, with the admonition to remember to turn off the light when you were done and leave the key in the door…she’d come down later and get it. Ah, that was Bevagna her Freshman year.) Afterwards, follow your guide for a peek into the pretty little 19th century Torti Theater, with its red velvet seats, gilded boxes, and richly decorated ceiling.
Bevagna's surprise gilded lily of a theater.
Whew, lunchtime. Now’s when you really realize Bevagna is edging into her Senior year, as the town is chock-full of great places to eat. For a casual, hip atmosphere try La Bottega di Assù on Corso Matteotti, which is part bistrot/part bookstore/part art boutique all crammed into a space the size of my bedroom. For something more upscale, but worth every penny, dine at one of Umbria’s hottest restaurants right now: Redibis. Offering nouveau-Umbrian cuisine in a section of Bevagna’s restored Roman amphitheater, this unforgettable restaurant is on every foodie’s A-list. Otherwise, for traditional Umbrian cuisine head to Piazza Garibaldi, lined on both sides with the outdoor tables of the trattorias which have popped up like mushrooms over the past few years.
Spend a little time after lunch wandering the backstreets of Bevagna, making sure not to miss the curving Vicolo del Amphiteatro, tree-lined Piazza Garibaldi with its medieval city gate (Porta Cannara) and bricked-in facade of a Roman temple, and quiet cloister of the Dominican convent (now converted into a hotel). At 3:00 (or 2:30. or 3:30. It changes month by month.) head back to the Museo di Bevagna for your second ticket, the one which will get you entrance into a number of historically accurate workshops where artisans demonstrate their crafts using methods and tools from the middle ages. I prefer by far to see these workshops during Bevagna’s wonderful medieval festival–Il Mercato delle Gaite–in June, but if you can’t make it then this is a good substitute. To hear more about these amazing workshops, see here.
Once you’ve seen the mestieri, your visit is done. Stay for just a few more minutes to have a relaxing glass of wine (you are in the heart of Sagrantino country) at La Bottega di Piazza Onofri on Corso Matteotti, and toast to Bevagna. You had the amazing luck to meet her during her magical Junior year moment—here’s to hoping it stretches out for years and she remains forever lovely and warm, just as she is now.
A pretty view over Bevagna from the Santuario della Madonna delle Grazie outside of town.
I like balance and symmetry. It gives me a sense of calm when things come full circle, as if some bigger, universal equilibrium has been restored and the galaxy can once again continue ticking away like a precise cosmic clock.
I am going to be spending the next two weeks in a total culture immersion at the Spoleto Festival, now in its 56th year and, like many who reach middle age, starting to dab its toes into social media. There are a group of travel and culture bloggers who are guests of the festival, and I am one of them….peeking into the corners of Spoleto and behind the curtains of its most important annual event.
It seemed especially fitting for me to kick off this experience by stopping by the city’s spectacular Duomo last night at sunset—hands down one of the best spots to enjoy dusk in all of Umbria (other sunset picks: Lake Trasimeno and the Rocca Maggiore in Assisi).
When the sun lowers over Spoleto, it illuminates the magnificent 12th century Romanesque facade–with its shimmering golden Byzantine-style mosaic of Christ Enthroned with Mary and John the Baptist topping an elegant Renaissance portico—with a pulsating orange glow that makes you stop and wish you had a better camera. The sky deepens to a deep cartoonish azure and the swallows begin to circle the soaring belltower as if sent in by central casting. It is truly one of those magical moments that stops you in your tracks.
And the folks at the Spoleto Festival know it, which is why the traditional closing concert is held dramatically at dusk in the Piazza del Duomo on the last evening of the Festival. I will be there, two weeks from now, on the final night of what promises to be a memorable 15 days, enjoying my last sunset and remembering my first.
Restoring balance and symmetry to the universe.
Trevi, as hilltowns go, is Umbria’s comfort food. Trevi doesn’t challenge your palate with exotic flavours and peculiar spices. Trevi doesn’t rock your world with molecular gastronomy and new-fangled raw food diets. Trevi has nothing to prove; she is understated, unpretentious, and secure in the knowledge that she’ll stick to your ribs and let you leave the table comfortably sated. Which is why, like with any comfort food, you’ll find yourself returning to Trevi over and over again.
Trying to snap a picture of Trevi without an olive tree getting in the way is like trying to snap a picture of an elephant without the trunk getting in the way.
It had been awhile since I headed to Trevi, which is one of the those towns in my geographical slush zone: too close to Assisi to count as a day trip but too far away to bop over for lunch. But I was hankering to get back to one of my pet blogging projects, and though Trevi isn’t the next on the list of The Most Beautiful Villages of Umbria –I’m on the Cs, for those of you paying attention. And don’t give me that look. Yes, it’s taking me awhile to get through the list. Things have come up, people.—fall is Trevi’s season, it being one of the most important olive oil producing areas in the olive oil producing region of Umbria.
So, on a gloriously sunny autumn morning I found myself driving up through the groves blanketing the hills beneath Trevi at that magical hour when the mist is just lifting and the ghostly outlines of the teams of pickers, spreading nets beneath the olive trees and positioning their rickety wooden ladders against the branches, are beginning to emerge from the silver grey. Just as I rounded the last hairpin turn coming up from the valley, the town itself—dramatically dribbling down the sides of its steep hilltop like gravy over a heap of mashed potatoes—caught the first rosy-gold rays of sunlight and, despite the eight cranes hovering over the jumble of rooftops, the pure beauty of it made me catch my breath. And the thought came to me, as it so often does with our favorite comfort foods, “Damn. Why has it been so long?”
I love this old-timey effect. Plus, you can't see all the damned cranes.
Trevi starts its comfort food schtick with the most basic of amenities: a sprawling, free parking lot right at the top of the hill about fourteen feet from the main piazza. To anyone who has passed any time visiting hill towns in Umbria (and, by the way, if you do want to visit hill towns in Umbria, pretty much your only option is to have a vehicle), the deal breaker importance of free, easy, accessible parking is immediately clear. Let’s just say it gets the meal off on the right foot. I stuck my car in Piazza Garibaldi, and passed under the Porta del Lago city gate into the main Piazza Mazzini, which is so film-set ready it would be a clichè…if, of course, it wasn’t real. The accommodating ladies at the tourist information office (unfortunately open only Friday, Saturday, and Sunday…but I discovered that tapping politely on the glass door and smiling winningly might score you a resigned entrance) kitted me out with a MAP and a FREE AUDIO GUIDE of the town. To anyone who has passed any time visiting hill towns in Umbria, the deal breaker importance of friendly infopoint staff who can actually provide such novelties as maps and audio guides is immediately clear.
Just one of the amazing views from Trevi. Brace yourself. You're about to see a lot of 'em.
So, remember your great-aunt Mary Margaret who came over from County Kerry fifty years ago, but never lost her Gaelic brogue and sweet-yet-schoolmarmish cadence? Well, somehow the folks over at the Trevi tourism office tracked her down to do the voice on their audioguide. It was both surreal and soothing to wander through the tiny center with Mary Margaret murmuring in my ear about the Churches of Sant’Emiliano (largely unexceptional inside, but with three pretty Romanesque apses and a 15th century portal outside) and San Francesco (built in the 14th century on the site where Saint Francis admonished an ill-mannered donkey to cut the racket during his sermon, at which point the donkey knelt in silence until Francis had finished. Thus begging the question as to why that won’t work with my kids.) and the various palazzi and piazze.
You want chicken soup for the soul? Well, check these views out.
The audio guide lasts about an hour, but honestly I cherry-picked the explanations, preferring instead to wander the warren of lanes in the tiny center in contemplative silence. As I walked, my pace slowed and my pulse began to match the easy heartbeat of this quiet town. I popped into a couple of museums—the charming and well-done Olive Museum (what else, in the olive oil capital of Umbria?) and surpising Palazzo Lucarini Contemporary Art Museum (even Trevi shakes it up a bit…a little ginger in the oatmeal, so to speak.)—and roamed languidly through their empty, silent halls. I stopped to snap pictures of odd niches, carved doors, smiling artisans in dim workshops, and the views. Especially the views.
This is the view to the San Martino monastery outside of town (temporarily closed due to restoration work).
I came away from Trevi as soothed and settled as if I had just had a big, steaming bowl of chicken noodle soup. Maybe my mind wasn’t expanded, maybe I didn’t have any spiritual epiphanies or life-changing realizations, but sometimes that’s not really what I’m hungry for. Sometimes what I’m really craving is less a question of stomach and more a question of heart.
Ok, I'm done with the views. Maybe...
If you really are hungry while in Trevi, you’re in luck. There are two fabulous restaurants: La Vecchia Posta (Careful, their site plays music at you. Scared the bejeezus out of me.) in the postcard-perfect main piazza and La Taverna del Sette, which has a charming internal courtyard.
Did you love these pictures? Thanks, but they’re not mine. They were used with kind permission by the talented (and generous) photographer Marzia Keller, to whom I am forever grateful. Because my pictures suck.
This is the fifth installment of the monthly Italy Blogging Roundtable, a project organized by travel writing powerhouse Jessica Spiegel, and including professional travel writer Melanie Renzulli, art historian and general brainiac Alexandra Korey, Tuscan uber-blogger Gloria, and me. (If you missed the previous months, take a look here.) Please, pull up a chair to our Roundtable, have some fruit rollups, and join in on the conversation.
My favorite season has always been autumn, because I am a nerd. And the favorite season of nerds the world over is fall, because it marks the end of the nerd’s least favorite season: summer.
Summer is the season of endless, aimless frolicking, frolicking usually involving sports and bikinis, (or–most often–sports in bikinis). Summer is the season of the beach read, the blockbuster movie, the pop anthem. It is the season made for drinking the hottest drink and driving the hottest car and hanging with the hottest crowd. It is, in short, the season which celebrates everything the nerd is not very good at.
Fall—fall, my friends—is the season when order and routine return. It is the season when schools (or–for the older nerd–night courses) begin, the season of baggy sweaters and long walks in the arboretum (nerds like their nature tagged in Latin). Fall is the season of the Nobel prize for literature, the art-house film festival, the symphonic season opener. It is a season made for quiet, contemplative, indoor pursuits during which one is fully clothed and speaking in complete, grammatically correct sentences. It is, in short, the season during which the nerd positively shines.
And one of the nerd’s favorite activities during those rainy, Sunday afternoons in late fall is visiting museums. I love museums. Love them. I grew up in Chicago, which is a city saturated with sprawling, monumental museums. I cut my teeth at the Museum of Science and Industry, with its coal mine and walk-through heart and giant model train, and the Field Museum, with its towering dinosaur skeletons filling the main hall and life-size dusty paleolithic dioramas. (I love the Field Museum so much I actually toyed with the idea of holding my wedding reception there. Alas, nerds are poor. Geeks are the rich ones. They understand computer programming.)
Umbria, of course, can’t hold a candle to Chicago’s museums size-wise; the average Windy City museum covers more square acres than most Umbrian towns. That said, a number of bite-sized local museums have popped up in this region over the past few years that are excellently curated, accessible to English speakers, and well worth the hour or so it will take to visit their singular collections…even for you cool summer people out there.
Casa Museo di Palazzo Sorbello (Perugia)
There is something about human nature that draws us to the past. We trawl antique stores, hike the Mayan ruins, pore over archives searching out familiar surnames. We are constantly peering through windows into history, hoping to find some connection between our brief years on earth and the millenia that have come before.
This is especially true about the home-cum-museum. Who doesn’t love to wander through these domestic archaeological sites and learn about the quotidian routines of their occupants, so similar—or, at times, so incredibly removed—from our own?
When I visited the recently opened (and winningly named) Palazzo Sorbello “House Museum” in Perugia, I was fully expecting to be charmed. I envisioned richly furnished rooms (it is a noble family’s Palazzo, after all) arranged in artful domestic tableaux, mannequins posed in period garb, dark corners, a slight musty odor, and lots of dust. I envisioned, in short, the typical small, private, off-the-beaten-track museum.
I was not expecting to be wowed. But I was, and completely enthralled during my two hour tour (the standard visit lasts about half an hour, but I got to talking with their marketing director, Enrico Speranza, who has encyclopedic knowledge of the Sorbello family and their Palazzo and before we knew it….). If a visit to the Palazzo Sorbello is a window into the past, the view from here is one of a family with a long history–uniquely interwoven with that of Italy from the Middle Ages to the 20th century–and with an enduring passion for art and culture.
We began in the extensive library, includes a rare original Encyclopedie Française from the mid-1700s. From there we spent the better part of the morning viewing their carefully curated selection of landscape paintings and portraits, breathtaking European and Chinese porcelain, a priceless handblown Murano chandelier, and various objects d’epoque.
Perhaps most fascinating was the collection of intricate embroidery produced at the beginning of the 20th century by the Embroidery School founded by the American wife of one of the noble family’s descendants. This enterprising Dame, Romeyne Robert, left her mark on the local economy by enrolling rural Umbrian women in the school, teaching them this disappearing craft, and giving them their first taste of economic independence.
More than a simple time-capsule, Palazzo Sorbello is a living lesson in Italy’s social and economic history and one of the most fascinating museums in Umbria.
Museo della Memoria (Assisi)
Via San Francesco, 12
Phone: 075 8197021
Hours: Nov-Feb: 10:30–1:00/2:00–5:00 March, April, May/Sept, Oct: 10:00–1:00/2:30–6:00; June-Aug 10:00–1:00/1:30–7:00
Museo della Memoria
It’s easy to forget, in this religiously homogeneous land where politics, education, holidays, foods, given names, and kitschy tchotkes all seem to revolve around the Catholic church (the fact that I can use a yiddish phrase to describe things like holy water key chains and friar salt and pepper shakers gives me no end of etymological joy), that there are, indeed, other religious communities in Italy.
Jews in Italy have have had a tough time of it for the past two millenia, and the tiny remaining community of 45,000 which still live in the Bel Paese would have been even smaller had it not been for the work of a network of citizens—lay and ordained, private and official—who secretly collaborated under the direction of Catholic Bishop Giuseppe Placido Nicolini and priests Father Rufino Niccacci and Don Aldo Brunacci to harbor and ultimately save more than 300 Jews (most from northern Italy) and other war refugees in the early 1940s.
I, like most local residents, had heard bits and pieces of this story through word of mouth and buzz created with the publication of The Assisi Underground, a 1978 novel built around the true story of this clandestine network. That said, for years the only remaining tangible evidence was the vintage printing press, still bolted to the floor of the typographer workshop-turned-souvenir shop in Piazza Santa Chiara, which had been used by the Brizi family to secretly print false identity cards and other documents, making it possible for Jews both in Assisi and across Italy avoid deportation and imprisonment.
When the building was sold in 2009, the new owners asked the press be removed, which spurred a grassroots movement by locals to create some sort of official display rather than let the last vestige of the Underground be packed away in storage. After a few calls to action in the local paper, I hadn’t heard much else, so figured the momentum had died away and the living memory along with it.
Luckily, I was wrong. Through private and public donations, the Museo della Memoria (Memory Museum) opened in the spring of 2011, and it is startlingly excellent. The four halls are packed with excellently displayed (and translated) letters, documents, photographs, and historical artifacts (many of which revolve around the Brizi’s typography workshop), an in-depth biography of the main characters in the story (including the German Colonel Valentin Müller, Commandant of the city and Catholic, who showed humanity in an inhumane situation), and a video loop of interviews with some of the surviving activists and refugees.
Moving, compelling, and perfectly curated, this jewel of a museum merits a visit. A final note: No Assisan betrayed the Underground and no refugee passing through was captured during its activity. So, the Jews have a debt to the city. And yet…and yet. It was the letter forged by the hand of one of these refugees, fluent in German, purportedly from Kesselring declaring Assisi an open city, which began the evacuation of German troops under Colonel Müller and quite probably saved Assisi from destruction.
So, who owes whom, really, in the end?
Museo della Canapa (Sant’Anatolia di Narco)
Phone: 0743. 613149 (if you arrive and no one is there, call this number or ask around…the office is down the street)
Hours: Mon closed, Tues-Fri: 9:00-1:00, Tues/Thurs: 3:00-6:00, Sat: 2:30-6:00, Sun: must reserve.
Museo della Canapa
If you think that just one person can’t make much of a difference in this crazy world, listen to the story of a five foot tall, red haired, tinkly-bracelet-and-flowered-poncho-clad dynamo named Glenda Giampaoli. Yep, just like that bad ass of a Good Witch Glenda, who might disarm you with her ready smile and sweet voice but don’t get between her wand and whatever she’s aiming it at.
A textile archaeologist with a soft spot for her home region, Glenda had a dream: to bring to light the rich history of hemp farming and textile production in the Valnerina. And before you start pigeonholing her in with Woody Harrelson and patchouli-scented aging hippies in Berkeley, let me just tell you that hemp was once mainstream in Italy. Extremely mainstream. So mainstream, in fact, that Italy was the second largest industrial hemp producer in the world at the beginning of the 20th century. The staid women’s fashion magazine, Grazia, put out an entire issue in 1940 entitled “The Triumph of Hemp” dedicated to the latest in hemp fabrics and styles. (The lead story begins thus: “Hemp, like a woman, must be treated roughly to render it soft and pliable.” Ahem. Yes, well. We’ve come a long way, baby.)
Then, as Glenda so succinctly puts it, Italy lost the war. History is written by the victors, who also determine the course of the future. As the Allies had huge economic stakes in the success of nylon and other synthetic fibers developed during World War II, hemp was demonized. Polyester was in, hemp was out…and with it a micro-culture and economy dependent upon its production. With an admirable amount of patience and tenacity, Glenda has been working for the past few years to re-introduce hemp farming in the Valnerina and other areas of Umbria (recent EU legislation has begun legalizing the crop) and sensitize the population to the benefits of bringing back this lost product.
Part of her campaign—the most important part, perhaps —has been the establishment of the nano-sized Hemp Museum in the fetching village of Sant’Anatolia di Narco. With a bit of negotiation, flavored with diplomacy, grovelling, determination, and (one can only imagine, in this country where just renewing your driver’s license can seem more complicated than an establishing an international commission on CO2 emissions) quite a bit of luck and goodwill, Glenda was able to retrofit a section of the village’s former city hall to hold an eclectic collection of antique textile and weaving tools and looms and examples of hemp cloth donated by local families and dating from the 1800s.
The museum’s information panels are all excellently translated, but if you’re lucky you may get a tour by Glenda herself, who flavours the visit with local lore and cultural nuance (hemp weaving, for example, was key to the economic independence of women—particularly widows and single women—at the turn of the century, as it was one of the few occupations available which could be pursued without leaving the home). The pride she has in her tiny yet huge triumph of a museum is palpable…and contagious. As I watched her punctuate her impassioned explanations with grand gesticulations while she insisted on showing us “just one more thing…this is really special!” I realized that only a tiny yet huge personality like Glenda could have waved her wand at the disheartening Italian bureaucracy and conjured up this most special museum.
Curious to hear what Alexandra, Gloria, Melanie, and Jessica had to say about this month’s topic? Check out their blog posts, and leave your comments.
One of the odd dichotomies stemming from the extreme regional divisions which define Italy is that you are much more likely to find a wide variety of Italian foods and ingredients in, say, New York or London or Sydney than you are in, say, Rome, Milan, or Naples. And most Italians would recognize more readily Japanese sushi or Moroccan couscous than they would Calabrian ‘nduja or Piemontese Cugnà.
Jars of red-hot nduja.
Because people interested in Italian food outside Italy are generally curious about all Italian food, but Italians themselves consider their local dishes—ideally prepared in their mother’s kitchen–the apex of their national cuisine and really only sample delicacies from other regions when they are actually visiting there. And, even then, mostly out of a sense of duty and to cement their opinion that their local dishes are the apex of Italian cuisine.
So, on the rare occasions when there is an opportunity to check out what people are eating all down the Boot, I jump at the chance. This past weekend Foligno held its annual Primi d’Italia food festival, which features pasta dishes from a variety of Italian regions. I passed on the tastings (word on the street is that the food is average and the prices high), but did check out the stands selling everything from bread from Puglia to cheese from Trentino. Great fun, lots of goodies to try at home, and a reminder of this crazy patchwork-quilt nation of histories, cultures, dialects, and—of course—foods that is Italy.
The one food that might just unite the nation: Bunga Bunga sauce.
Olives in all shapes and sizes.
Umbria holds its own in pork charcuterie.
The further south you go, the spicier the cuisine gets.
Perhaps the most picturesque booth, with its giant loaf.
A fun display of pasta shapes from every Italian region.
I picked up some pasta from Naples and Abruzzo. To sniffs of skepticism from the folks at home.
One would think, right? One would think—what with my extensive arsenal of feminine charms, my glam slam social life here on the farm, and the household-name fame that is part and parcel of blogging—that I would be fending off dinner invitations from handsome strangers daily. It would become a chore, really. I would be rejecting them with a languid wave of my hand and an, “Oh, I couldn’t possibly take on one more engagement, darling. Honestly. I have a limit of four nights out a week.” I would be leaving a veritable trail of disappointment and heartbreak in my wake.
Ahem. Yes, well. I know this may come as a surprise to you (It certainly did to me), and I’m going to try to break it to you gently. That’s not exactly what goes on around here. Apparently the life of a working mother of two who writes an incredibly niche (that’s French for obscure) blog on the slow travel charms of one of the smallest regions in Italy is not exactly the most sought after arm candy on the social diaspora.
Which is why, when I received an email this summer from a fellow expat of the XY chromosome persuasion complementing me on my blog and inviting me out to lunch (I believe his exact words were something disarmingly elegant like, “I think you would enjoy one of my favorite restaurants in Umbria and I would be delighted to take you as my guest”), I literally glanced over my shoulder to check and make sure he was actually writing to me and not someone infinitely more attractive and interesting who might be standing behind me. But he was, indeed, addressing me and we settled on a date a few weeks hence (just because I don’t have a very refined social life doesn’t mean that I’m not, sadly, insanely busy).
I quickly came to the conclusion that the only explanation for this anomaly had to be that my new expat friend was some sort of psychopath (this is how the mind of a South side Chicagoan works). To fend off any possible attacks, I did what any responsible adult would do: I brought my nine year old son along. Apparently Mr. X had the same thought, as he informed me he was bringing along his niece. And so, our motley foursome was formed.
If I wasn’t disappointed about the woeful state of my social life before this lunch, I certainly was afterwards, as it turned out to be one of the highpoints of my summer. Mr. X is a delightful, erudite retiree who has lived in Umbria with his wife for the past few years and devotes much time and energy sussing out wonderful unknown eateries. His adult niece, visiting from Brooklyn, was a fun and funky designer who was great with my son. The conversation was easy and engaging, and before we knew it we had been at the table chatting for three hours (and my son was officially late for his rugby practice).
But the best part of my surprise invitation was, by far, the pure find of a restaurant Mr. X had chosen. If there’s one thing I pride myself on–other than the fact that I can move my ears and I defiantly refuse to see the movie Titanic–it’s that I pretty much know Umbria, including her notable restaurants. I may not have actually been to them all (though that is certainly one of my short term goals, which conflicts with my other short term goal of weight loss), but it’s relatively rare that someone can pull a place completely out of the hat and awe me.
I believe that we put a little bit of our souls into our cooking. I mean, not in that new agey brick-heavy metaphoric Like Water for Chocolate way, but in a more down-home pragmatic human nature way. Any creative act—painting or singing or writing or love making—inevitably reflects what’s going on in our heads and hearts. That’s just how we’re wired and I challenge anyone to sit down and paint a bright field of sunflowers or bake a sunny lemon tart the day after a death or a break-up or a foreclosure. This soul/food connection is usually more direct in our own kitchens, simply because the dishes aren’t diluted with the touch of too many hands. But sometimes—sometimes—you come upon a one-man-show restaurant where alongside your pasta you find plated a little piece of your cook’s heart. Welcome to Laura’s Hosteria.
Hosteria 4 Piedi & 8,5 Pollici
Piazza del Mercato, 10
Bastardo (Giano dell’Umbria)
Tel: 0742 99949
Why yes, I *do* know how to upload maps now. Expect lots of showing off in future blog posts.
I have to be honest and admit that I initially had my misgivings. The Hosteria is located in Bastardo (a wholely charmless village whose only claim to anything nearing passing interest is its name) in a secondary piazza ringed with bleak cement apartment blocks and a big box supermarket. We parked in a depressing commercial lot with its straggly grass and recycling dumpsters and my unease was lessened slightly as Mr. X pointed out the whimsical entrance to the Hosteria’s otherwise anonymous storefront, which could only be described as the result of a one night stand between an English garden show booth and the front yard of an organic co-op in Portland.
The eclectic front courtyards hints at the shabby chic decor inside.
The eclectic interior, with it’s meandering black and white mural decorations, fresh wildflower centerpieces, mismatched shabby chic chandeliers, vintage tableware, and—curiously—antique typewriter in the bathroom (it took me awhile to figure out why my son kept getting up to visit the loo every ten minutes), further put my doubts to rest. This was not a place which would be turning out factory-made tagliatelle with chemically-enhanced truffle sauce from the kitchen.
The small restaurant oozes personality.
Indeed, we didn’t know what would be coming out of the kitchen until our hostess, Laura, told us the specials of the day; the Hosteria is a strictly no menu sort of place. The selections are a magical alchemy of seasonal ingredients, Laura’s fancy, and customer finickiness (my son didn’t seem particularly excited about the cocoa maltagliati, ink squid tagliatelle, or ricotta and basil ravioli, so Laura took a gander at what she had in the kitchen and came up with a wonderful twist on the Roman specialty cacio e pepe, with a little guanciale thrown in for good measure. He was happy.). I was plied by the ravioli, and they were perfect…light little flavor bombs with a fresh tomato dressing. Aside from her egg pastas, Laura also makes a range of sauces to dress the dry pasta of your choice; the selection the day we visited were guanciale and zucchini, meatball and eggplant, and arrabiata.
An example of Laura's hand-shaped fresh pasta.
The meat dishes were equally diverse, ranging from a local tagliata steak, to traditionally prepared lamb chops, to the decidedly non-traditional ginger chicken or fish cakes. I asked for a cheese selection, and was treated to one of the best cheese courses I’ve had in Italy…from aged pecorino to fresh ricotta (served on a spoon with local honey), accompanied by a number of Laura’s handmade fruit mustards, relishes, and—divinely—wine reduced to an intense drizzle-able glaze.
The portions were as generous as Laura herself, so by the time we got to the dessert menu we could only handle some of her excellent biscotti (which were so good that my son managed to pocket one or two for later) and vin santo.
The Hosteria has an interesting wine list, with some off-beat local Umbrian cantine which reflect the vibe of this small (seating for about 30) restaurant and its menu. As I said, I was treated to lunch, but my gut feeling is that a couple could easily have two courses, dessert, and wine for around €50.
We had these biscotti, but without the hat.
When I asked Laura about the name she gave her Hosteria (which translates into 4 Feet & 8.5 Inches), she told me she had taken it from one of her favorite works of Brazilian author Paolo Coelho, Zahir. “The story is a parable of one man’s search for his wife, during which he is also searching for himself and the meaning of love. Four feet and 8.5 centimeters is the distance between rails on train tracks, and becomes an allegory for static nature of marriage as opposed to the constantly changing and evolving nature of love. Because the more you try to establish rules to measure love, the more love disappears.”
Kudos to Laura, her wonderful Hosteria, and the measureless love with which she feeds her clients’ bodies and souls.
These photos were used with kind permission of Laura Saleggia, who retains all the copyrights.