Making Necci At The Olive Press Kitchen

Fall is chestnut season. The leaves and the round stone disks above can be used to turn chestnut flour into rustic crepe-like necci.

Roasting chestnuts at the fall festival in Colognora di Pescaglia

Fall is chestnut season here in Tuscany.  Any day now the scent of roasting chestnuts will fill the air. When that happens, necci are sure to follow. Necci, essentially chestnut flour pancakes, were once a staple in the kitchens of the Tuscan countryside  Only 3 ingredients are needed to make the batter – chestnut flour, a pinch of salt, and some water.  They are a classic example of cucina povera, dishes made from ingredients readily available in times of scarcity.  In Tuscany, the abundance of chestnut trees supplied many essentials to people who might otherwise have gone without – wood for heating, charcoal for cooking, and chestnuts to roast, dry, or grind into flour. That flour is the basis for necci. 

I was introduced to necci (necci is plural, the singular form is neccio) years ago at a local fall food festival where the batter was ladled onto long-handled, flat, metal paddles and cooked quickly over a gas flame.   Hot off the paddle, and naturally a little sweet, they were heavenly rolled around a filling of fresh ricotta cheese with a drizzle with honey.

Testi - stones that are heated to cook necci the rustic way

Necci were made differently in times past. I first learned about the old method when visiting the Chestnut Museum in the tiny village of Colognora di Pescaglia years ago. In the museum a stack of round stone disks, called testi, sat beside an open fireplace.  The museum guide explained that the testi were used to cook necci long before the metal paddles came into use.  But just exactly how that worked was not entirely clear to me.

Fast forward to last year when I took a cooking class with chef Giuseppe Mazzocchi at The Olive Press Kitchen in the hills near Montecatini.  The kitchen there has a large open fireplace; sitting beside it was a stack of testi.  Necci were not on the class menu that day, but Giuseppe promised that in the fall he would teach me the old way of cooking necci. 

A week or so ago a few friends and I headed to Guiseppe’s kitchen, in the building that once housed his grandparents’ olive mill, to make necci the rustic way, just as his grandparents and their neighbors did a generation or two ago.  In additional to flour, salt, and water to make the batter, we used chestnut leaves, the stone testi, and a hot fire. 

The dry chestnut leaves, collected from property around the mill, were soaked in water to make them pliable. While they were soaking, the stone testi were placed on a rack above the fire in the kitchen’s beautiful open fireplace. 

Heating the testi to prepare them to cook the necci

Once heated, the layering began.  First, a hot stone.  Next, a layer of wet chestnut leaves.  On top, a scoop of batter (not too much, the necci should be thin. It takes some practice to get this just right).  More leaves go on top of the batter.  Next, another stone. 

We repeated the layering until we had a tower of stones 6 or 8 high.  The heat from the stones cooked the necci as they sat close to, but not above, the fire (I’ve posted a short video of the process on Instagram two_parts_italy). It didn’t take long for the necci to be ready – but between our chatting, sipping prosecco, and having a wonderful lunch, I admit I lost track of the exact timing. 

The necci became our after-lunch treat.  As we pulled the stacks of stone apart, the chestnut leaves left their imprint on each neccio – making them look as beautiful as they smelled.  Filled with the traditional filling of ricotta and a little honey, they made a perfect ending to the meal – an autumn delicacy infused with the flavors of the past.

I can’t thank Giuseppe enough for hosting us and patiently teaching us the rustic method of necci making.  For me, it was the perfect combination of history, cooking, friends around the fireplace, and the start of the fall season. 

Olive Press Kitchen contact info: website: theolivepresskitchen.com email: info@theolivepresskitchen.com phone/WhatsApp. +39 329 743 3364

It’s always a pleasure to spend a day at Il Molino - the historic mill that houses The Olive Press Kitchen - where the welcome is warm and the scenery spectacular.

Museo Nazionale del Bargello

One of many statues in the courtyard of the Bargello, this one, from 1579 by Domenico Poggini, is particularly lovely

I could spend the next 20 years in Florence and still not have studied all the art that can be found there.  There is so much to experience - in public buildings, palaces, churches, and museums - that it can be overwhelming, especially if trying to see as much as possible on a short visit. How fortunate it is to spend most of the year just an hour or so away in Lucca, making it easy to return over time, taking in a new museum, seeing just a few artistic highlights, or returning to a favorite place.

One place that I have returned to over the years is the Museo Nazionale del Bargello.  There are many things to love about the Bargello; it is one of my favorite museums anywhere in the world.

First, the history.  Constructed in the 13th century as Florence’s first public building, it began its existence as a place to protect the rights of the people.  Over its long history it has served many purposes and experienced many periods of destruction and rebuilding. After its noble beginning, the palazzo was later used as a justice hall and later a prison.  Political prisoners were tried, jailed, and executed here up until the late 1700’s when the death penalty was banned. Perhaps the most famous political convict was Dante. He received a death sentence here in the year 1302; luckily he had fled Florence and the sentence was never carried out. Instead, he was exiled from Florence.   

The courtyard, looking up to the loggia

Since 1865 the palazzo has served as a museum, housing treasures created by some of Italy’s most famous artists.  Even before viewing the art, the palazzo is magnificent for its architecture.  Standing in the courtyard, with it’s central well, coats of arms, and grand staircase, and looking up toward the first-floor loggia, is a wonder.  Many of the pieces here are recreations of works that had been destroyed during the years when the Bargello served as a prison. 

Ammannati’s Juno Fountain, 1555. (Juno and the peacocks are copies)

Detail, courtyard ceiling

Other pieces were relocated here from various buildings in Florence, including the Juno fountain which was originally meant for the Palazzo Vecchio. Over time it was deconstructed and the 8 statues scattered to different locations. Now, with all the figures reunited, it is a perfect fit in the Bargello’s grand courtyard. 

The courtyard is a peaceful spot to sit and enjoy the start of a visit to this wonderful and generally uncrowded museum. Informational signs, in English, provide an overview of the buildings history, a good beginning to any visit.

The floors above the courtyard hold an abundance of treasures.  I think of the Bargello as primarily a sculpture museum, for it is the sculpture that pulls me back time and again.  The sculptures include a who’s who list of Italy’s most famous artists – Bernini, Donatello, Cellini, Michaelangelo, Verrocchio, Giambologna. 

Bronze Birds by Giambologna, c. 1570

Many of the most famous works can be found in the Donatello Room, originally the palazzo’s grand hall, including both a bronze and a marble David by Donatello. While this room showcases several works by Donatello, others are also represented including the competition pieces by Brunelleschi and Ghiberti for the Baptistery doors. The Donatello room is newly refurnished, with this David right in the center.

A bronze David by Donatello, c.1440 (the marble St. George in the background is also by Donatello)

There is much more to see at the Bargello in addition to sculpture.  There are Della Robbia glazed ceramics, paintings, decorative arts, ivories and paintings. 

A small chapel, with frescoes by Giotto, was where prisoners would be given last rites prior to their execution. Today, it houses religious artifacts including an intricate carved choir lectern.

Il Pescatore (The Fisher Boy), Vincenzo Gemito 1877

The photos here are just a hint of what can be found in the Bargello.  So many visitors to Florence head to the Accademia to see the David and the Uffizi for the famous paintings, and both are wonderful.  But to miss the Bargello is a shame. 

The art there can be viewed close up – but don’t be like the tourists I saw reach beyond the rope to touch a marble statue!  The guard was right on that and after she scolded them she looked at me, shook her head, and said “every day there is at least one like that”.  I would hate to see all these wonderful works of art get hidden behind glass enclosures because of visitors who don’t keep their hands to themselves. 

As they are displayed today, it is a joy to be able to walk around each piece, admiring the different angles and perspectives. I am headed back to Florence for a week’s stay at the end of October with a friend who is a first time visitor.  You can bet the Bargello is one of the places we will go.

The Dancing Cherub, a more playful Donatello

Rainy Day Rules

Umbrella sharing highly encouraged

This month in Lucca has been the coolest and most rainy September that I can recall.  The past week has brought big storms (fierce enough to have destroyed one of my window screens entirely) and some dramatic thunder and torrential rains.  Overnight rain has been common and day times have seen a mix of weather – sunshine one minute, a downpour the next.  And many hours of drizzle.  To me, it feels more like March than September.   But, if I must choose, I much prefer the crisp rainy days we’ve had lately to the years when September heat made for a very long month.

After living 30+ years in the high desert of New Mexico, it took some adjusting to living in rainy Tuscany.  I don’t think I even owned an umbrella before moving here.  In the years since my arrival in Lucca, I have learned a few things about life in a rainy climate, so here is my list of rainy-day “rules”.

Shopping in the rain is easiest with both an umbrella and a “nonna cart” for keeping groceries dry.

The first and most important rule is that life here does not stop due to rain.  In a dry climate, we tended to just wait for the sky to clear before going out to run errands.  Sometimes even a little rain would cancel an event.  And going out in the rain often meant dashing to a warm, dry car.  Not here!  In Lucca, it is impossible to manage without going out in the rain.  Errands don’t wait except in major downpours.  A bit of drizzle ?  Just get on with it.  Even the recent luminaria event was not delayed due to a light rain. Which leads to “rule” number 2.

As the English author Alfred Wainwright said, ‘There’s no such thing as bad weather, only unsuitable clothing”.  

I learned this the hard way when my smooth soled boots saw me hydroplaning on wet marble sidewalks and when a flimsy, undersized umbrella left me wet through and through.

Rain wear basics are not optional here.  Good rain boots, water-resistant jackets, and hats.  As for ombrelli (umbrellas), I always have two – a small one that can be carried in a bag or backpack when rain is anticipated and a larger full length one that is needed for the heaviest rains.  In Lucca it is easy to find umbrellas for sale in shops or by street vendors.  And with a variety of colors, the umbrellas turn the rainy streets into art.

The portaombrelli is the place to leave a wet umbrella when entering a shop

Another rule – never carry a wet umbrella into a shop.  Instead use the portaombrelli (umbrella stand) located near the door.  It works best for the full-size umbrellas; the shorter ones can be left beside it.  Just grab it on the way out – though they is easy to forget if the rain has stopped.  I will not comment on the number of umbrellas I have accidently left behind.  Let’s just say I support the sale of umbrellas quite well.

A bit of umbrella etiquette is also nice.  When everyone has their umbrellas open in the street, things can get quite congested.  The danger of being clobbered with the umbrella of a careless passer-by is considerable. It is most polite to stay to the side of the street and to either tip your umbrella to the side to avoid “kissing” umbrellas or to life the umbrella high allowing others to pass beneath. Does everyone do this?  No, but I sure do appreciate the ones that do.

Did he jump? You bet he did. The splash made us smile.

Another hazard – puddle splashers. 

This is usually caused by a car going by at speed.  Walkers beware! Sometimes a bike or just a heavy-footed person will make a splash.  No “just for fun” puddle splashing allowed by anyone over the age of 6.  But I do love when little ones jump in the puddles.  Makes me smile. 

Lastly, we can’t control the weather, so might as well make the best of it.  A rainy day is a perfect time to make a soup or a fragrant peposo (a peppery beef dish). 

The rain leaves beautiful drops on leaves.  Puddles reflect buildings and light. The rain smells wonderful. The chill is refreshing.  And the return to blue skies after a rain is a welcome sight. 

After the rain … blue skies and soft clouds

BTW, Italians don’t say that it is raining cats and dog.  Instead, they may say there is un’acquazzone (a downpour) or piove a catinelle (it’s raining buckets). 

And sometimes, if you are lucky, the rain is followed by an arcobaleno (a rainbow).

La Festa di Pane (The Festival of Bread)

Tourists, and big tour groups, are everywhere in Lucca right now. One of the challenges of living in an historic city!

Today, September 22nd, is the autumnal equinox, officially the first day of fall.  But, after having hints of fall weather in mid-September, this past weekend saw a return to summer-like temperatures.  Between the warm temperatures and the large number of tourists in town, it is hard to believe that fall is just around the corner.

The Settembre Lucchese events are still going strong, even after the conclusion of the Luminaria di Santa Croce event which happened a week ago. The past week has seen disco music in Piazza San Francesco, the monthly antiques market, and the start of Lucca Film Festival.  The Film Festival continues this week with film screenings and appearances by several well-known actors and directors.

My favorite event of the past weekend was La Festa del Pane (The Festival of Bread). The event, which took place in Piazza Napoleone, featured local Lucchese bakers who set up a bakery right in the piazza.  

In the pop up bakery they produced many different types of breads, from beginning to finished product.   Tables were laden with rustic loaves, whole grain ones, and even fancy shaped breads fresh from the ovens.  On Saturday, the star of the show were the various breads and focaccia. 

On Sunday morning, sweeter Lucchese specialties were baked. There were beautiful trecce (braids) studded with chocolate bits and loaves of Buccellato, a sweet bread scented with anise and dotted with raisins. Both are typical Lucca foods.

Another Lucca specialty also made an appearance, Torta di Becchi. This is an unusual local torta (not quite a cake, not quite a pie) with both sweet and savory elements.  Imagine a pastry crust filled with a mixture of chard, pine nuts, raisins, sugar, eggs, milk, and spices.  Perhaps a dash of rum or some candied citron.  The edges of the pastry crust are pinched up to form the becchi (beaks). It is a bit of an acquired taste, but a much loved one here in Lucca.

 Samples were handed out to the onlookers, making them very happy. The breads, pastries, and cakes could also be purchased for a donation, which went to support a local charity.

Un assaggio?

The Festa di Pane was a great way to sample some of Lucca’s specialty breads. It’s just one of the many Settembre Lucchese events that make this a great place to visit in September. 

Even Spider Man dropped by to serenade everyone! 

The Restoration of An Icon

This painting, in the Church of San Frediano, portrays the arrival of the Volta Santo on an ox cart.

In Lucca, a city where legends and mysteries abound, one such tale surrounds a religious icon known as the Volto Santo (Holy Face).  According to the legend, the crucifix with the body of Christ was carved by Nicodemus shortly after the resurrection.  Nicodemus struggled to complete the face which was miraculously completed by angels while the sculptor slept.  But that is only the beginning of the mysteries surrounding the Volta Santo.

Some 700 years later, a series of miracles took place as the crucifix went to sea on an unmanned ship, eventually landing on the coast of Italy.  From there, a driverless ox cart brought the crucifix to Lucca where it was placed in the Church of San Frediano.  After somehow disappearing from San Frediano, the crucifix reappeared near the Cathedral of San Martino.  Another miracle or a case of ancient clerical mischief?   

Miracle or not, the ancient wooden crucifix has been permanently housed in San Martino, Lucca’s main cathedral, ever since.  Each September 13th Lucca celebrates the Volto Santo with the Festival of Santa Croce (Holy Cross) and a luminaria procession in which the historic center is bathed in candlelight while religious, civic, and historical groups make their way through town.  It is a solemn and evocative event.  During the celebration, the crucifix, which most years remains in its small chapel within the cathedral, is dressed in gold vestments.  The crucifix itself is much too valuable, and too heavy, to be part of the procession. Instead, it is represented each year by a banner bearing its image and a huge cross made of flowers.

Prior to the restoration, the original colors were lost to environmental damage and repainting. Much of the expression of Christ’s face was dulled. The gold crown and collar are only placed on the crucifix during the Festival of Santa Croce each September.

Over time, the sculpture has changed in appearance.  The original colors were lost to the effects of soot from candles, repainting, and waxing over the centuries, so that the entire body took on a dark appearance.  The glass paste eyes had been painted over, losing much of their expression.  There was damage to the wood of the cross and the body.   Fearing that there would be continued deterioration, the decision was made to carefully restore the icon.

One of the first things undertaken was radiocarbon dating based on samples of the wood.  Previously, it was believed that the Volto Santo was a 12th century piece, but carbon dating proves it to be even older – 9th century – making it one of the oldest wooden crucifixes in existence,

Perhaps the most important decision in the process was restoration was to create a laboratory within the church where the work, managed by the Department of Polychrome Wooden Sculpture at the Oficio delle Pietre Dure, would take place.  This meant both that the valuable statue did not have far to move and that the public could watch the restoration process which required about 2 years to complete.   It also meant that for the last couple of years the statue was not dressed in its gold vestments during the September Luminaria festival. 

The restoration work took place in a laboratory built inside the cathedral. Slowly the original colors were revealed and restored. Photo from the website voltosantolucca.it

But all of that changed a few days ago.  On September 13th of this year, restoration complete, the Volto Santo was revealed to the public.  It has not yet been placed back in its small chapel as that structure is also undergoing restoration.  Instead, it is now positioned upright in the restoration laboratory within the cathedral where it will remain until next summer.   It is beautifully displayed and the lighting allows for appreciation of all the colors (which were determined by careful analysis of the existing traces of paint) and details.  The face is especially remarkable.  Before restoration the features were indistinct with a monotone color.  Today they are much more lifelike and expressive.  The colors and details of the robes and the crucifix itself are wonderful.   

This carefully undertaken restoration, completed just in time for the 2025 Volto Santo celebration, is a modern day miracle and guarantees that this important and historic icon will continue to hold a special place in Lucca for centuries to come.  

Many visitors - locals and tourists alike - came to see the restored Volta Santo on the day of the Luminaria of Santa Croce festival last Saturday.

As I write this, on September 13th, bells are ringing throughout Lucca and the luminaria candles are ready to be lit. It’s a good day to be in Lucca.

To see detailed photos of the restoration: voltosantolucca.it

This series of bells were set up in the piazza next to the Cathedral of San Martino and rang throughout the day of the festival.