Clet's Common Man taking a step off the Alle Grazie Bridge

During the dark of the night on January 19 last year, Clet and a couple of friends installed Common Man, a life-size black fiberglass statue, without permission, on Ponte alle Grazie. Common Man (Uomo Comune) bears a striking resemblance to the black cut-out figure on Clet’s altered street signs. The bridge-jumping statue, which from a distance looks like it is made of heavy iron,  was enjoyed by all (except perhaps the cultural powers-that-be) with photographs going viral on the internet. It was removed seven days later by city officials, taking weeks and a Facebook campaign to get the statue back into Clet’s possession.

Alexandra Korey of arttrav.com asks “Is lack of permission an essential part of Clet’s art? Position and surprise are elements that contribute to the meaning of the works. Common Man walks perpendicular to traffic on the bridge, proud and determined as he takes the first step in his battle against bureaucracy and the daily grind. His removal, Clet admits, is part of the plan but ‘one can always hope that they might see the light and leave it up, at least for a little while longer.’”

The Common Man heads down river

Alexandra continues by quoting Clet: “The Common Man statue is intended as a stimulus to take an important and risky step. It represents one of those moments on one’s life in which one needs to make a decision even not knowing its consequences (the void below him is this unknowingness). So Uomo Comune decides to take this step, and invites everyone to do it. The irony lays in being part of this dangerous spectacle from the safe side of the railing. The act is permanently frozen in limbo, being a sculpture that doesn’t move and will never finish stepping out, and so will never know if his choice was the right one or not – the only way for us to know is if we were to try it ourselves.”

Clet's Self-Portrait hung in the Palazzo Vecchio

Part of the controversy about displaying modern art in Florence is that foreign artists seem to be given a venue — Gregory Wyatt (U.S.), Botero (Columbia), and more recently Damien Hirst — while resident artists are not afforded the opportunity to show their work. The Palazzo Vecchio raised admission prices for viewing Damien Hirst’s diamond skull. While the Hirst skull was on display, Clet managed to install his self-portrait in a gallery in Palazzo Vecchio, where it went unnoticed for 24 hours. Another act of artistic disobedience.

The Common Man's new home walking across a lake in Signa

Clet’s Common Man statue was finally returned to the artist by the officialdom of Florence and in a bit of neighborly cultural nose thumbing, the nearby town of Signa has given the Common Man a permanent home. Instead of walking off a bridge, he is now walking on water. He is striding across the lake in Renai Park.

We look forward to Clet’s next artistic endeavor.

Cake Thinking at Palazzo Coveri

Arezzo-born Calamai’s creations depict a simple world that joyously combines the antique with the modern. These works are inspired by the art of Renaissance pastry-cooks, rediscovering and reconstructing the forms and colors of the sweetmeats that graced the table of Eleonora and Cosimo I de’ Medici. The artist has created an original style of painting, sculpture, and jewelry, with the theme of sumptuous cakes and pastries of all sorts, able to appeal to the eyes and the appetite at the same time.

A tart topped with a cherry makes a ring good enough to eat.

Be sure to see the art-à-porter sculpture of “sweet” hats (meringues to profiteroles) that transform the ordinary into the unconventional – they can be worn as an ironic headdress or displayed as sculpture.

There are original audio “sound” paintings of the artist, including a diver taking the plunge into whipped cream.

A great fantasy - diving into whipped cream

The unique polyurethane foam sculpture entitled Corredo Cromosomico (Chromosome Complement), and the three-dimensional painting representing Cromosoma 4 (Chromosome 4), which is thought to be the gene responsible for the “sweet-tooth,” are the only two pieces that don’t look good enough to eat.

Don’t miss the celebrated installation Muffin, a huge cake that you can walk inside with a cherry on top, and, my favorite, the Kiwi table made with resin. There are also sweet silk scarves and jewelry in the form of cream puffs and cakes.

Kiwi table is a refreshing take on the fruit

The Gallery of Palazzo Coveri is located on Lungarno Guicciardini, 19 in Florence.

Entrance to the exhibit is free and is open from Tuesday to Saturday, 11 am to 1 pm and 3:30 pm to 7 pm.

The show ends April 16, 2011.

For further information, visit galleriadelpalazzo.com and marinacalamai.it .

Corteo for the three kings on Epiphany in January

Throughout the year, there are at least thirty parades, processions, or other celebrations with historical costumes, including men in tights. The drummers are in tights, the trumpeters are in tights, the flag wavers are in tights, even the noblemen on horses are in tights as they ride in the corteo.

The Flag Wavers need the flexibility of calzamaglia

What brings this to mind today – a day without a corteo – is the wonderful column by Maureen Dowd in the New York Times. Mantyhose are apparently all the rage. In fact, yesterday I was in the Paperback Exchange Bookstore in Florence and there were two trendy men wearing mantyyhose. They looked something like this gentleman, but they incorpoated more layers and more color:

All over Europe Mantyhose are alla Moda

The U.S. has it’s own men in tights but they are usually super heros.

Batman & Robin flaunted their tights

Britain had Robin Hood. Ms. Dowd rightly observed that in the 1993 film Robin Hood: Men in Tights, Robin, Little John and the Merry Men sang, “We’re men, we’re men in tights; we roam around the forest looking for fights.”

Men wore tights for over 300 years in Italy

Florence, however, has the longest and most colorful history of men who showed a lot of leg. Frescos celebrate the fashionable men who roamed the streets generation after generation for almost 300 years (14th – 16th centuries). Lorenzo the Magnificent was … yes … magnificent … in tights (something had to distract the focus away from that nose). Michelangelo probably didn’t change his calzamaglia more than once a month, if that often. Even Savonarola, the monk of the Bonfire of the Vanities, didn’t disparage the well-turn calf sheathed in skin-tight stockings.

The historic soccer game Calcio in Costume takes place in June in Florence

The Calcio Storico in Florence has for centuries shown how manly men in tights can be. Or perhaps it’s because they are wearing stockings and bloomers that makes this annual game so bloody and violent. I hadn’t thought of it that way before.

Emilio Cavallini His & Hers

It was, of course, a Tuscan, Emilio Cavallini (born 1945 in San Miniato near Pisa), who introduced unisex hosiery to modern times. In 2009, his high-end stocking company designed products for a more male sensibility and now it sells about 30,000 pairs a year to men. The new billionaire owner of Spanx didn’t skyrocket to success by ignoring the growing male market – look for Spanx this year for men who want to smooth those unsightly thigh-topping saddlebags.

The Conservative Man's Brosiery

Runners have been sporting spandex for years never knowing how fashionable they were (perhaps only worrying about that chaffing problem), but now they can toss away the all black look and add a little creativity with stripes, skulls, plaids and polka dots.

Colorful Mantyhose for Spring 2012?

And maybe rainbow colors will show up in the designers’ lines for men next season and we will have come full circle from the trend setter of the Renaissance to the fashion forward man of today.

The Common Man carried away the Do Not Enter bar

Until now. Well not exactly now. I giggled at this artist’s whimsical street sign work a year or so ago. And then he graced Ponte alle Grazie with the most imaginative sculpture (subject of another post). It was only when I got up close with his art on the walls of the innovative café/gallery La Buchetta that I was willing to say “he may be a street artist, but …”

His name? Clet. Where did he come from? France. Underlying philosophy? “As long as there are roads, there will be street art.”

Do Not Park gets unbuckled by Clet

Cletus Abraham is not exactly your everyday street artist. He was born in 1966 in Brittany. His father is the French writer Jean-Pierre Abraham. Clet attended the Ecole des Beaux-Arts in Rennes. His art was exhibited at various galleries of Brittany, after which he moved to Rome where he worked as a restorer of antique furniture. He exhibited in numerous galleries in Rome and Paris. In 2005, he moved to Florence. Did his arte nella strada begin here? I don’t know.

In 2010, the blogs started to twitter about Clet’s nighttime raids on Florence street signs. Clet said that he suddenly saw the overwhelming banality and primitiveness of the ubiquitous municipal signs that rule our lives. He wanted to give them another meaning — a political, religious and philosophic interpretation — without obscuring the readability of the underlying sign.

One of the first street sign silhouettes created by Clet

It began with a crucified Christ hanging from a “dead-end” sign. Then Da Vinci’s Vitruvian Man graced a “no-entry” sign. But the favorite has to be the Common Man who is carrying away the “no entry” bar.

Unlike the taggers and the spray painted ugliness on Florence’s ancient walls, Clet’s street sign art is a removable adhesive silhouette. His work can be found in Rome, Florence, Paris, Turin, London and Valencia. It may be coming to a city near you.

Frenchman Clet Abraham leaves his mark in Paris

Alexandra Korey, of ArtTrav.com fame has already asked the question that most interested me: “What is the difference between your work and graffiti?” Clet answered:

I’m not sure exactly what the fundamental difference is between a graffiti artist and my work. I can say for sure that my stickers are easily removable. It’s essential to me to create works that are thematically in keeping with the support upon which I am working, to adapt myself thus to any situation with complete respect for the work of others; I try to offer a service with my talent and knowledge. It’s possible that some graffiti artists have a similar work ethic. We do have in common a taste for the mysteries of the night and of surprise; a healthy attitude [or preference] for liberty of expression and breaking of rules – but these are the bases of being an artist!

I may be persuaded that street art, when done well is a gift to the city and its residents, especially that which is not permanent or destructive, like the Clet street signs.

Near Arezzo, Clet painted the town of Poppi for the Castello di Poppi

For Clet, street art is more of a hobby than a vocation. His works are experiencing a notable success with private collectors in Paris, Monte Carlo, and New York. Many private entities, such as Banca Popolare dell’Etruria e del Lazio, the Istituto Tommaso Crudeli of Udine and the Castello di Poppi, have commissioned works from him. He participated in three exhibitions organized by the FuoriLuogo (”Out of Place”) between 2008 and 2010.

You can visit his studio in Via dell’Olmo, 8r in the San Niccoló neighborhood where he sells small items (stickers, t-shirts, and pins) based on his work, as well as his enhanced city street signs, both new and weatherworn, discarded by the Florence road works department.

Check out the videos of Clet and his work.

Folon's Arcangelo (2003) - a blue man flying

Folon said, “I’ve spent all my life trying to fly and I assure you that I can’t, I’ve spent my life drawing blue men who flew, and during my life, I’ve also drawn many rainbows.” In 2001, he found a  tangible rainbow.

He told this story: Some years ago I was in Roma with Federico Fellini, in the street and under the rain, and Federico had an appointment with his doctor.

After a while he put his big hands on my shoulders, looked at me and said “We’ve spent our life fulfilling our childhood dreams”; we all had dreams when we were children, and I believe that when we were children we all thought, “one day I’ll fly”. Childhood dreams are very important. In life we all face reality soon, it stresses us and it takes everything away, our energy and our time. All things considered, all the children are the same when they say, “when I’m a grown-up, I want to fly, I want to find a boat and sail far away”.

Eventually I took refuge in the sea, and, luckily, I’ve found the boat to go to sea with.”

On Over the Rainbow Folon went in search of his dreams

History of a Special Yacht

It was in 1930, when W. G. Hetherington from Glasgow had his 34 meters (115 foot) yacht, Janetha IV, built at Dickie & Sons Shipyard in Bangor, North Wales, in order to allow himself relaxing cruises together with family and friends, along the coasts of Scotland. In the years that followed her launching, Janetha IV sailed in the Scottish waters until 1939, at the beginning of the Second World War, she was commandeered by the Royal Navy and put at its disposal as coastal patroller.

In the years that followed the war, after a short period spent sailing in America, the yacht arrived in the Aegean Sea. In that period, in Greece, the Janetha IV, at the anchorage off the harbor of Athens, was transformed into a little floating casino. The yacht, whose name was then changed in Ismini III, disappeared for a long time, almost forty years, until, at the end of the eighties, an English owner bought her, renamed her Classique, and used her as a charter yacht, a successful market for about ten years, until a new owner moved the yacht to Cote d’Azur, where it was left in a state of neglect; virtually abandoned until Folon discovered her in 2000.

Folon's spirit influenced the beauty of his yacht

After years Folon managed to buy the yacht. He said, “Three years ago I was in a little bar and I had just bought a wreck and I was looking for a name and Judy Garland was singing “Over The Rainbow” on the radio, a wonderful song, which doesn’t mean “over” but “beyond” the rainbow.”

In 2002, the renamed Over The Rainbow arrived at Mondomarine’s slipway in Savona, a shipyard the construction of large yachts. Folon was avidly involved in the rebirth of the adventuresome boat. Two years later, Over the Rainbow was launched.

The 2004 Launch Party

At the 2004 launch party, Folon tells the story: “One day in a port I saw a wreck that was going towards death and I thought that it shouldn’t have died; I said to myself immediately “you’ll have a new life.”

And so this yacht is not just a yacht for me, but a real creation, which is part of my life, with her I want to discover countries that I don’t know very well, and from this yacht I want to see the lights of the coast and the stars in the sky.”

And all this to tell you that I could still speak for ages, because now the only thing I think about is this magic yacht; she hasn’t got anything so extraordinary, I think she is quite an ordinary yacht, she isn’t particularly fast, she can’t give you a great performance because she is slow, lazy, she allows herself to be dragged away by the sea; but she is more than that, she’s a real wooden yacht as you’ll never find again, and I want to go and see the stars with her.”

Over the Rainbow still explores the Mediterranean (2008)

I think that in life people should have many dreams, because they guide us and Over The Rainbow is a dream. My little crew and captain Jean Louis believe in the yacht and so do I, and together we’ll go to stroll and visit islands; and I’ll come back with many images, drawings and water color paintings, because I want to look at nature, the lights on the sea and the beauty on the earth.”

Folon enjoyed just over a year gazing at his billion of stars before he succumb to leukemia at the age of 71 on October 20, 2005.

To read more about the restoration of Over the Rainbow.

Carlo Buliani catches the light of "l'uomo della pioggia"

Alexandra Kourey of arttrav.com fame caught a different view of the same statue, one winter day when someone forgot to turn the umbrella off — now he was the ice man.

Alexandra catches the rain man on a very cold day

My next sighting of Folon was in the butcher shop of Dario Cecchini. He was a friend of the artist and has a ceramic Everyman as well as a watercolor and a couple of sketches created by the artist in the shop on butcher paper. Perhaps I even saw Folon’s art on the covers of the New Yorker and Time in the years before I arrived in Italy and just didn’t know his name.

Antica Marcelleria Cecchini envisioned by Folon

Jean-Michel Folon was born in Brussels in 1934. He grew up in a modest bourgeois family where his father was a wholesale paper dealer. Young Jean-Michel loved to draw and showed a strong desire to be an artist. His father however thought being an artist was impractical and enrolled his son in the architecture program at Ecole Saint-Luc in Brussels. According to Folon, he “spent the next four years drawing bricks” and left the school just six months before he was to receive his diploma. He moved to Paris in 1955 to follow his dreams.

Folon hangs out with his reading man at Forte Belvedere (2005)

Presenting a summary of Folon’s artistry entails skimming through over forty years of creation. His works have traveled the world: from the Metropolitan Museum of Art in New York to the Correr Museum in Venice and from the Gaudí Museum in Barcelona to the Picasso Museum in Antibes. Even though some of his works became part of museum collections, Folon kept a lot of his works for himself.

"Partir" in the Rose Garden under the autumn sunshine

For this, Florence has reason to give thanks because now twelve sculptures (ten in bronze and two in ceramic) are part of a permanent collection in the Rose Garden (Giardino delle Rose) below Piazzale Michelangelo.

The idea started in 2005 when over 100 of Folon’s works were displayed at the Forte Belvedere in Florence. The experience, some say, was an epiphany for Folon, who was passionate about Tuscany, and was married to an Italian, Paola Ghiringhelli. He dreamed of permanently displaying his work in the perfect Italian garden with good lighting and a spectacular view. It was his desire that his bronzes would have a yearlong dialogue with the vistas he loved. Sadly Folon died soon after the close of the 2005 exhibition.

"L'Envol" is about to take off in the wind

But Paola persevered. Clearly a woman of fortitude, she fought the Florence city government that was happy to take her husband’s statues, but wanted to stick them in an obscure park in the periphery of the city. She remembered how Folon loved the way his bronze suitcase Partir framed the Duomo in 2005. She wanted the same effect and knew it could be found in the Rose Garden located at about the same distance above the Arno as Forte Belvedere. But the Rose Garden was only open a couple of months a year, complained the powers that be. So? Open it all year ….

Folon's "Chat" may look sleepy, but is ever vigilant

And it finally happened. The Rose Garden is open all year and last fall Folon’s bronzes were installed. Even now, when there are few flowers and it is very cold, the garden is a joy to explore. Colorful graphic maps help you to find each of the sculptures, although the positioning of the ceramic pieces still needs work to show them at their best.

The highlight is certainly Partir — the huge outline of a suitcase with a ship riding sea waves inside — but even better, it frames the Palazzo Vecchio and the historic center. Surely some day there will be a series of photographs that celebrates the seasonal changes framed by this bronze.

"25ème Pensée" has a mind only for gardening

The three Everymen, one with a flower pot for a head, another getting set to fly off in the winter wind, and the third simply entitled Walking, are classic Folon. The man reading on the bench kindly leaves you room to join him. The cat-bird is the most whimsical animal, but be sure to find the fish-man in the pond, the streaking bird, and the water-spouting beast called Vivre that is a mix of at least four creatures.

The cat-bird is only one of Folon's fanciful animals

So that Folon’s contributions may be enjoyed in any season, the Giardino delle Rose will now remain open year-round. It is an oasis of quiet, ever changing with the seasons, similar to the Bardini Garden, in that, unlike the Boboli, it is usually empty of tourists. Admission to the Giardino delle Rose is free.

The best wintery day views of classic Florence are from the Rose Garden

The reason the garden is never crowded is that it is off the beaten tourist track. To get to the garden, starting from the top at Piazzale Michelangelo, go down the stairway (Via di San Salvatore al Monte) descending from Viale Galileo. From the bottom, go through the porta at Via di Belvedere; walk up Via del Monte alle Croci until you see the stairs.  There will be a small door in the stone wall to the garden at the intersection.

Folon left Florence after the Forte Belevedere exhibition in 2005 to focus on his new passion — a 1930 yacht that he called Over the Rainbow. But that’s another story, for another time.

Enter into a peaceful sunlit jewel box

This is the world of the Aprosio & Co., the dream child of designer Ornella Aprosio, master artisan of the tiniest of crystal and glass beads.

The art of beadwork was very popular at the beginning of the 20th century, reaching its height with the “flapper” styles of the 1920s, but with the worldwide depression of the 1930s the lighthearted designs disappeared and the artisans couldn’t sell their creations.

Spring comes to Aprosio & Co.

A Rome native, Ornella Aprosio began her career as a professional bead designer in 1993. Before that she was a restorer of antique clothing, including evening gowns dating back to the 1920s, thus giving her expertise in working with complex beadwork. There were no teachers for beaded jewelry, so she had to experiment with each of her early pieces.

Thousands of beads and hundreds of hours for a classic purse

Now, besides creating her own unique pieces, Ornella employs about thirty artisans. Her bi-level store with its ivy-covered courtyard is located in the Palazzo Frescobaldi on Via Santo Spirito. The shop is graced by the presence of Monsieur Maquis, Ornella’s dog, and a suitably aloof cat. A couple of months ago she opened another location across the river on Via della Spada.

Although some of the simpler pieces are affordable to all, Aprosio’s wares are not inexpensive. The prices reflect the skill and time required to produce each piece by hand, as well as the fine materials she personally chooses – Venice’s Murano micro glass beads (known as conteria) from Venice and Bohemian crystal beads from the Czech Republic.

Beauty and the beast coexist at Aprosio

Ornella’s designs are made one by one by her specially trained artisans and therefore have variations that make each piece unique. The three dimensional quality of the more complex pieces and the depth of color and shine are created with the different methods of construction; some are crocheted, others knitted, the cushions use needlepoint, and the scarves have beads woven into fabric.

Luscious cherries - a favorite design

The different shapes, glitter (matte glass Italian conteria, sparkling Bohemian crystal seed beads) and colors of the beads highlight the details and expertise of the designs. Ranging from classic shapes – simple soft stretchy bracelets, a classic knotted necklace and brightly colored ball ear posts – to the more extravagant complex pieces – bumble bee pins, art deco evening bags, and orchid necklaces – that can take up to weeks to create, Aprosio has something for every taste.

The spider’s web, celebrated for the natural perfection of design is an Italian symbol of good luck and fortune, was integrated in Aprosio’s logo. And spiders, beetles, lizards, ladybugs, snakes and bats show that Ornella has a quirky sense of humor. The thought of an Aprosio gold and black striped bee with silver wings perched on the shoulder of a little black cocktail dress is the perfect image of the brand.

Shop, showroom and office
Via Santo Spirito 11 (Palazzo Frescobaldi)
Tel:+39 055 2654077

Shop 2
Via della Spada, 38r

Opening hours:  Monday to Friday: 9.30 – 19.30, Saturday: 10.00 – 13.30 / 15.00 – 19.30

Website

Years ago, I was a regular at La Maremma on Via Verdi in Florence. I loved their penne pasta with mushroom and truffle sauce. I adored their fruit tiramisu. In fact, I don’t think I ever had a dish I didn’t like there. Everything was cooked to order, the service was fantastic, and the ambience with its slanting floor was warm and comfortable. (Since then, the restaurant has been renovated, but the high quality of the food is still getting rave reviews.)

La Maremma on Via Verdi

One evening, I ordered my favorite pasta and then saw ostrich (filetto di struzzo con salsa di vino rosso) on the menu. The owner, Enzo Ragazzini, explained that the ostrich was grown in Italy and urged me to try “un piatto speciale e buono.” I agreed, forgetting to ask for a half-portion of the pasta.

After some shared crostini, my large plate of penne con funghi e tartufi arrived, steaming, fragrant, and oh so scrumptious. I just had to eat the whole thing, sharing only a bite or two with my two dinner companions.

Almost full, my eyes popped when a beautifully presented filet of ostrich – round, about two inches high and four inches in diameter, like a classic filet mignon at a good steakhouse in the U.S. – with a deep purple-brown wine sauce and a sprig of fresh rosemary, was placed in front of me.

Ristorante La Maremma

The filetto was perfect, pink, tender, complemented in every way by the accompanying sauce. But it was huge. I could not do it justice in one sitting. Not after that pasta (and crostini and wine). I could have shared it with my friends, but as luck would have it I was eating with two vegetarians.

I vaguely understood the Italian Food Rule: No Doggy Bags! At least, I had never seen a container – bag, carton, foil, etc. – being offered in any of the many restaurants I had patronized (I am no cook, except for chocolate chip cookies and pancakes, so I ate out a lot.) in Florence. But I couldn’t let half a filet of ostrich, my first ostrich dish, go to waste. And I did not want the chef to get the wrong idea – I loved every bite.

So I asked Enzo in my almost non-existent Italian, if there was any way he could wrap the half filet up so I could take it back to my apartment. This conversation took a while. He even resorted to some English to clarify my desire. After I finally came up with “per portare via, per favore,” a phrase more suited to a pastry shop than a restaurant, he left with the plate, shaking his head. I was regretting the request.

La Maremma doesn't know about aluminum swans...or ostriches

Enzo returned in a bit and showed me a small used, but clean, plastic bag with a warm aluminum-wrapped half filet of ostrich. I reach for it to put it quickly in my shopping satchel, out of sight. He wouldn’t let it go. He sat down at the table and in a mix of Italian and English proceeded to give me the recipe (did I mention that I do not cook?) for the red wine sauce that graced the filet on the original plate.

As I hypothesized in explaining the Italian Food Rule: No Doggy Bags, one of the reasons Italians don’t believe in taking home leftover food is that the dish is to be eaten immediately, as the chef envisioned, not recycled into another form at another temperature.

Italian Food Rule: No Doggy Bags!

The friendly owner of La Maremma could not imagine that I would want to slice this tender filet of ostrich up with a little mustard and mayo in a panino, or tossed into a microwave oven to warm it up to go on a plate beside a similarly zapped potato (my kind of cooking). No, I was instructed on how to make the exact same wine sauce as the chef. I took notes.

And I swore that I would never request a doggy bag again in Italy.

Some of the best stories are those that start in the same place where they end. The more things change the more they stay the same. The Italian Food Rule: No Doggy Bags! has strange antecedents because according to some the doggy bag’s first appearance was in the 6th century BC … in Rome.

Apparently, when invited to a banquet at the neighbor’s villa the ancient Roman would bring a napkin or two. It was a compliment to the host to take some of the dinner home wrapped up in your napkin.

Ancient Romans wrapped part of dinner up in a napkin to take home

But perhaps with the fall of the empire the custom fell into disfavor. During the Middle Ages, the leftovers went first to the kitchen staff, then to the lower order of servants, and then out the backdoor to the beggars in the courtyard.

Why don’t Italians ask for doggy bags?

In modern times, there seem to be three reasons that Italians don’t ask for a take-out container. (The term doggy bag or doggie bag is an Americanism that entered the European lexicon mostly to complain about the practice.)

First, Italian food is made to order, to be eaten as the chef envisioned it, immediately as the dish arrives on the table. It is not to be eaten at another temperature (cold pizza), in another form (bistecca alla fiorentina sliced in a sandwich), or mixed together (pasta alla carbonara with a chunk off a veal chop resting on top).

Second, servings in Italian restaurants tend to be of the appropriate size so that the diner does not get too full by eating everything on the plate. A light eater does not order an antipasto, a primo, a secondo, and a dolce - one or two courses is enough.

Third, Italians look at food left on the plate as scraps, not leftovers. There’s a difference. It’s not good manners to ask to take home kitchen scraps.

For 60 years Americans have requested doggy bags

Some say the term “doggy bag” came into being because embarrassed Americans wanted to hide their real purpose in requesting a container for leftovers. (Emily Post certainly frowned on the practice.) But the Smithsonian blog Food & Think claims that the first doggy bags were for the benefit of dogs during the 1940s when rationing had an adverse impact on pet diets. One Seattle restaurant offered a waxed paper bag labeled “Bones for Bowser.”

By the 1970s, the practice of doggy bags for late night snacks for human consumption became more accepted, first at restaurants that already offered take-out or delivery (pizza joints and Chinese restaurants). Then even elegant places would oblige when asked. (Remember the aluminum foil swan you got on prom night when you didn’t want to burst a seam on your fancy dress?)

Swans make take-away so so special

Today, there are a few reasons why Americans whole-heartedly adhere to the doggy bag ideal.

First, most restaurants in the United States believe that their customers do not think they are getting good value for their dollar if the serving size is not at least twice the size of what a normal person can eat at a sitting. In other words, the customer expects to get one or two extra meals out of an evening at a restaurant.

Two, as American-born, London-based broadcaster Charlie Wolff, in the BBC magazine article, Doggy bag: Why are the British too embarrassed to ask?, explained “We Americans don’t have the airs and graces of Europeans. Americans are a bit more of the people, more pedestrian. There’s nothing embarrassing about asking for a doggy bag. We don’t want to see waste. There’s a sense of working hard for your money and wanting value for your dollar.” His mother used to make an omelette with the remains of meals from their favourite Chinese restaurant. She also used to bring any uneaten bread rolls home. “We were upper middle class. My parents came through the Depression and I’m sure that had a bearing even when they became successful.”

Third, Americans are the first to start recycling their waste and in the same way they look at leftover food as a product to be recycled in future meals.

Which brings us back to Rome…

Un Doggy Bag, per favore?

The Italian Food Rule: No Doggy Bags is starting to crumble. Some say that Michelle Obama is to blame. In 2009, Michelle was in Rome during the G8. This news item was widely-reported: “The Coldiretti Society of Italian Farmers heartily praised Michelle Obama for her progressive use of the doggy bag during the recent family’s stay in Rome.”  Michelle, together with her two daughters, dined at the ´I Maccheroni´ restaurant near the Pantheon. The family ordered three pasta dishes - carbonara, amatriciana and bolognese – but the meal turned out to be too hearty for the three Obama girls. And so Michelle asked the waiter to pack the leftovers into a bag to take home.

Michelle made a splash with her request for a doggy bag

The First Lady’s effort to make sure the food did not go to waste was widely understood as a public encouragement to save more and waste less. The Coldiretti stated, “It’s an important move against an epidemic in developed countries today – more that 30% of all the food product we buy are discarded without ever having been used.”

By 2010, a non-profit group that works with homeless people in Milan, Cena dell’Amicizia, began a project called “Il buono che avanza,” (“The good things left over”). Restaurants in the Milan area can voluntarily take part, whereupon they are provided with doggy bags and a sticker by the non-profit. “The idea is to fight the idea of a throw-away, consumerist society where waste is normal and recycling (even of food) is looked down upon,” claimed Cena dell’Amicizia.

Logo for Milan's take-away campaign

In the Piemonte region there is a movement, not so much for waste, but to prevent drunk driving, to provide take-away bags, called buta stupa (”corked bottle” in Piedmontese dialect), for leftover wine.

What about the rest of Europe?

Even the Brits are coming around (although no news from the French). Last year, The Too Good To Waste campaign was introduced to reduce the amount of food waste in restaurants. The average London restaurant produces 21 tons of food waste every year, research by the Sustainable Restaurant Association found. That’s the equivalent to the weight of three double-decker buses. Too Good To Waste is encouraging diners to be “lovers, not leavers” and ask for their leftovers to go. They, too, have created a distinctive take-away cartoon for the crusade.

Too Good To Waste - Britain's crusade

It seems Italy and Britain are not alone in trying to break the Food Rule: No Doggy Bags; in Sweden (also in 2011, a magic year for doggy bags) a campaign was started to prevent waste in restaurants. Among other things, the promoters convinced the rapper Dogge Doggelito from the The Latin Kings, one of Sweden’s first hip hop groups, to participate in their doggy bag promotional film. In the film, Doggelito overhears a couple quarrel about something the man finds embarrassing, and takes for granted that she wants his autograph – when in fact it’s a doggy bag she wants.

Sweden's doggy bag campaign

Tuscany will not violate the Food Rule

From all appearances, Florence and Tuscany will hold tight to the Italian Food Rule: No Doggy Bags! Florentines may be willing to recycle their trash, but leftovers do not constitute food in a region that prides itself in a cuisine that has not seen change in centuries and is not ready for reheating in the microwave oven. As a baby step, Tuscany may agree to follow the national Associazione Italiana Sommeliers, which is promoting Portami Via, a move to provide take-away bags for leftover wine.

Tuscany may support doggy bags for vino

Deep dark chocolate from the best cocoa beans the world has to offer

Of all the cioccolata calda in Florence, Catinari is the best in quality, quantity, presentation and experience. Vestri comes in second in taste, but the plastic cup is a flaw. Grom serves three interesting versions of high quality, but the paper cup and no place to sit are drawbacks. Rivoire has the old world ambience, but has let the quality slip and, though unlikely, it seems like the cups have gotten smaller.

Mangia! Mangia! has already discussed the hot chocolate of Vestri and Rivoire. The first week of a new year is perfect for measuring Grom against Catinari.

Roberto Cantinari – Father of Tuscan Chocolate

A life devoted to chocolate – Roberto Catinari, now in his mid 70s, is credited with inspiring Tuscany’s young chocolatiers, who gave birth to the “Chocolate Valley” that runs from Florence through Prato and Pistoia and on to Lucca and Pisa.

It is said that his love of chocolate began in Switzerland where the young Pistoian immigrant began work at seventeen as a dishwasher in a pastry shop. It was over ten years before he worked his way into the white coat of a pastry chef. He spent ten more years perfecting his craft.

Roberto Catinari has the perfect face of a master chocolate maker

In 1974, he returned to the mountains north of Pistoia and his mother’s house in the hamlet of Bardalone, to start a business with his wife. Six years later they moved to a more advantageous location in Agliana (between Pistoia and Prato) where the kitchen and shop continued until 2007 when he obtained a larger space nearby.

Catinari, with his flowing white beard, could be a chocolate wizard from a Harry Potter novel, but he looks at his work as a craft to be mastered. Over the past thirty years he has created a business where at first no one would pay for quality ingredients until today when chocolate-makers beg for a chance to spend time learning in his relatively small chocolate laboratory. He demands attention to detail, the best ingredients, and a passion for chocolate from all who work with him. Catinari keeps the facility small by choice – a way of valuing quality over quantity. His focus is on the value that hand-made attention to detail and the best raw ingredients bring to the final product.

The beautiful entrance to Arte del Cioccolato

Except for the shop in Agliana, there is only one other Cantinari Arte del Cioccolato shop and that is in Florence, down a specially decorated little alley at the bottom of Via Porta Rossa where it meets Via Tornabuoni. It’s easy to miss. Here the attention to the main ingredient is readily apparent and drinking cioccolata calda is a special experience.

First, there is the walk down the short paved alley with decorative trees and huge flickering candles. The tiny shop is paneled in dark wood with glass cases full of meticulously decorated chocolate candies. Two comfortable seats are inside and outside, heaters keep the small tables warm even in winter. Arte del Cioccolato serves either Fondente (dark chocolate) or Al Latte (milk chocolate) flavors, both made with chocolate from São Tomé, the small island in the Gulf of Guinea off the coast of Africa. A large ceramic cup is filled just over half way with thick hot hot chocolate, placed on a saucer with a spoon. The spoon is useful for cooling the first sips and capturing the last bit coating the sides of the cup. None should be missed.

Grom – The Boys from Piedmonte Aim to Bring Gelato to the World

Grom, the upstart youngster, opened its doors in May 2003 in the center of Torino, and the success was immediate, unlike Alberto Cantinari’s experience driving around Tuscany for years, slowly building a fan base. At Grom, long lines formed in front of the store from the very first day and the two founding partners, Guido Martinetti and Federico Grom, planned for world-domination with their artisanal gelato.

Grom has three great flavors

In January 2005, they decided to expand with the opening of new stores and invest in a centralized laboratory suitable to meet the production demand of the future. The goal was always the same: offering the very best. The centralization of the first phase of production (the mixing of raw materials) became a key decision allowing for a strict quality control standard. But most important, like Catinari, they wanted to assure the quality of the ingredients, for instance, by allowing only certain types of fruit available at local consortia, rather than at the wholesale fruit markets found in each city. The liquid mixtures produced in the laboratory, are checked by a team of experts and then distributed three times a week to each store, where they are blended daily to create incredible gelato. The same system is used for Grom’s cioccolata calda. This attention to quality and the right raw material is at the origin of what makes Grom famous throughout Italy and already many parts of the world (New York City, Paris, Osaka, Tokyo, and Malibu, so far).

Grom’s centralized laboratory also produces the excellent liquid chocolate served at each store as hot chocolate. Grom offers a choice of three flavors:  Bacio, Al Latte and Fondente.  All include fresh milk, dark chocolate of the best “crus” around the world (Al Latte uses Teyuna cocoa of Colombia, Bacio incorporates Tonda Gentile Trilobate hazelnuts and the Fondente starts with Ocumare chocolate from Venezuela), and a few drops of cream. There are no thickeners and the liquid chocolate is heated on the spot in each gelateria so as not to weakening the complex flavors of the great chocolates.

It’s true that it may not be fair to measure Grom, a gelateria, against three chocolate makers when weighing the merits of cioccolata calda in Florence. It didn’t come in first ,but it certainly was a credible competitor. Next winter, perhaps the hot chocolate at Café Giacosa and Café Florian will be on the list of challengers. But now, the New Year’s diet commences…

Grom – www.grom.it (in Florence) Via del Campanile at Via delle Oche – Ph. +39 055.216158. Open from 10:30am to 11:00pm

Roberto Catinari, www.robertocatinari.it,www.artedelcioccolato.it Arte del Cioccolato, Via Provinciale, 378; Agliana; +39-0574-718-506; (in Florence) Chiasso de Soldanieri, near the corner of Via Porta Rossa and Via Tornabuoni); +39-o55-217-136.
Open from 10:00am to 8:00pm