As the new 2009 extra virgin cold press Italian olive oil is released to the impatient masses, the following is a survey of some – but not all – of the Musei dell’Olio d’Oliva.

TUSCANY

Museo dell’Antica Grancia di Serre

The Museum of the Ancient Serre Grange is housed in a grange (fortified farm) situated in the Sienese countryside. Its fortification, which served to safeguard the stores from incursions, represents an interesting architectural type. In 2001, the museum  was inaugurated, divided into two sections, the Olive Oil Museum and the Grange Documentation Center. The first of these museums, housed in an ancient frantoio (olive-mill), displays a collection of implements and materials from the early 20th century pertinent to olive-growing and the production of olive oil.

Address: Via dell’Antica Grancia 3, Rapolano Terme, Serre di Rapolano (SI)

There is no museum website, but it is described in the website of the Florence History of Science Museum.

LIGURIA

Museo dell’ Olivo – Fratelli Carli Possibly the most interesting and complete of all of the Italian olive oil museums, the Olive Museum in Onelia was established to house a variety of objects collected over decades by the Carli olive oil company, founded in 1911. Housed in a small Art Nouveau mansion (1920), which was the company’s headquarters, it is still surrounded by the olive-oil factory. The same building accommodates a library dedicated to the olive and olive oil, while a cafeteria and a museum shop are in an adjacent building. The collection includes several rare objects, antiques and archaeological finds. All the exhibits tell the story of the customs, costumes, tools, production methods, commerce, without omitting the philosophical and artistic – the olive tree has inspired poets, authors and painters for more than a thousand years. The Olive Museum received the European Museum of the Year Award for 1993.

Address: Via Garessio 13, 
18100 Oneglia (IM)

Official Website (occasionally out of order)

UMBRIA

Museo della Civiltà dell’ Olivo

The Museum of the Olive Culture, the first public museum of its kind in Italy and in Europe, is housed in an old Franciscan monastery, which also includes the church of St Francis and a collection of works of arts. Divided into four sections (”Botany”, “Getting to know the olive and olive oil”, “The olive as a symbol of peace”, “The history of the olive”) the museum utilizes multi-media to tell its story. The Ro Marcerano** sketches amuse and educate children. The texts presenting the olive in history, botany and agronomy complement corresponding tables with data from the National Research Center. Interactive devices provide information on pressing techniques, while documentary films show such details as the manufacture of the sacks made of goat hair in which the crushed olive mush is placed for compression, and the phases of high-density cultivation, including tree pruning.

Address: Musei di San Francesco, Chiesa di San Francesco, 06039 Trevi (PG)

The official website has no information about opening times or ticket prices.

Museo dell’ Olivo e dell’ Olio – Fondazione Lungarotti

The Museum of Olive and Olive Oil was established in 2000 by the Lungarotti Foundation in a small nucleus of Medieval residences, where many decades ago an olive press operated in Torgiano’s historic center. The museum is organized in ten rooms and the tour starts with information about the phytological characteristics of the olive, the varieties grown in Umbria, and the various methods for olive cultivation and olive oil extraction, from the traditional to ultra-modern techniques. The presence of the olive and olive oil in daily life, and their use and importance throughout the centuries are also explored. These exhibits examine the mythological origin of the plant and the use of olive oil for lighting, in rituals of major western religions. The role of olive oil in medicine and in the diet, in sports, in cosmetics, for heating are described.  Finanly, popular beliefs attributed to the tree and its product – symbolic, appeasing, deterrent and therapeutic – are explored.

Address: Via Garibaldi, 10 
06089 Torgiano (Perugia)

Official Website and another claiming the museum as one of the attributes of Bella Umbria.

Frantoio Bartolomei Olive Oil Museum

The Vecchio Frantoio Bartolomei has an extensive collection of old machinery and vintage objects used in the cultivation of olives. The exhibition provides an itinerary that takes the visitor through the phases of the production of olive oil, from the growing of the olive trees, to the gathering of the fruit, from their processing to the storing of the golden oil. A 16th century press is one highlight of the collection.

Address:  Via Cagnano, 6 – 05020 Montecchio (Terni)

Official Website

LAZIO

Museo dell’Olio della Sabina Located in the village of Castelnuovo di Farfa, the Sabina Olive Oil Museum holds a rare collection of olive presses, which attest the evolution of olive oil production in the region over the course of four centuries. The museum is unique in its use of the works of five internationally renowned artists (A. Cavaliere, G. Gazzola, M. Lai, H. Nagasawa and I. Strazza), who, with music and sculpture as their tools, explain and honor the important role played by olive oil in civilization.

Address:  Via Perelli, 7
02031 Castelnuovo di Farfa (RI)

This museum has many fans, especially in Great Britain where it has been written up in the Independent and the Telegraph.  It was also mentioned in a Slowtrav.com trip report.

VENETO

Museo dell’Olio – Oleifico Cisano del Garda The Olive Oil Museum at Cisano of Bardolino, near Lake Garda, was established by the Cisano del Garda Oil Mill, which has been operating since 1936. The museum’s most important exhibits include an ancient olive-press with a lever, grindstones, screw presses and the reconstruction of a 19th century hydraulic press, as well as a centrifugal separator from the 1930s and various containers used to store the final product, including the characteristic stone jars of the Garda-Verona region.

Address: Via Peschiera, 54
37011 Cisano di Bardolino (VR)

Official Website with virtual tour. Military families from the nearby U.S. base include this museum in their visits to Lake Garda as reported in the Stars & Stripes.

PUGLIA

Museo dell’ Olio di Oliva Sant’ Angelo de Graecis

Created in the 400-year-old building that housed the olive press of the Sant’ Angelo de Graecis estate, the Museum of Olive Oil includes a collection of machinery and equipment attesting the history of olive oil production from the late 17th century until the early 1900s.

Address: Contrada S. Angelo, 5
72015 Fasano (Br)

There is no official website, but it is mentioned in a travel site and the details of the museum’s hours are on the Fasano website.

ABRUZZO

The Museum of Olive Oil of Cantinarte

Located in the small village of Bucchianico near Chieti, the Olive Oil Museum offers a view of olive oil production as practiced in the 18th century using stone and wood machines powered by man and donkey. The museum is housed in an ancient frantoio where the interior spaces and architectural details have been restored with special care to authentic detail.

Address: Via San Camillo 21, 66011 Bucchianico

Official Website and the website  Abruzzo Today describes the museum.

Museo dell’ Olio di Loreto Aprutino

The small Abruzzo hill town of  Loreto Aprutino has five – yes, five – museums. One is all about olive oil. It is housed in the New Gothic-stlye castle, itself worthy of a visit. A 90 minute guided tour is included in the 6 euro ticket price.

Address: Via C. Battisti, 65014 Loreto Aprutino (PE)

Official Website and bloggers About Abruzzo and Life in Abruzzo describe the olive oil museum and the castle.

All About Olive Oil Museums

For information about Olive Oil Museums anywhere in the Mediterranean check out the Olive Oil Museums site.

Best Photo of Olive Oil

National Geographic’s Photo of the Day – Olive Oil: Elixir of the Gods

Next time:  Museo del Gusto – the Taste Museum

Mac 'n' Cheese plain and simple

During the 50s and 60s across the U.S., moms would make Mac ‘n’ Cheese from scratch with a butter and flour roux and American cheese. In the 70s and 80s, Kraft cornered the market with powdered cheese or the deluxe version with a packet of “real” cheddar cheese sauce.

The popularity of macaroni and cheese in the U.S. supposedly started when Thomas Jefferson served the dish at a White House dinner in 1802. Some say he got the pasta machine from Italy and the recipe from France.

Macaroni’s first mention in literature is in Boccacio’s Decameron (1348) where on the eighth day the group, hanging out in the hills near Florence (waiting for the plague to abate), was told the story of people from Parma who ate formaggio parmigiano and maccheroni.

Today in Italy it is hard to find elbow macaroni at the market, Italians rarely eat cheddar cheese, and there aren’t any boxes of Kraft Mac ‘n’ Cheese on supermarket shelves. In fact, it’s a rare to find an Italian who has ever savored the dish and certainly none who understands the expat’s craving for the cheesy comfort food.

Trattoria Zibibbo

Now for the good news! Foreigners in Florence who need a fix of creamy cheese on pasta (or anyone else who just wants a fabulous meal) should head immediately to Zibbibo Trattoria, located out of the tourist hubbub, and try chef/owner Benedetta Vitali’s Spaghetti Pastificio Morelli con Monte 27.

Admittedly, the pasta is not elbow macaroni, but it is one of the finest spaghettis made near Pisa by the family-owned Morelli pasta company. The taste of the fine durum wheat comes through with a satisfying al dente chew.

Monte 27 Vecchio from the Taleggio Valley

The cheese is not Velveeta, or American, or even a fine aged English cheddar, but it is a unique aged yellow hard cheese called Monte 27 Vecchio. Monte 27 is made by a small cheese company in the Taleggio Valley in the mountainous province of Bergamo in the Lombardy Region of northern Italy.

Spaghetti Pastificio Morelli with Monte 27

Benedetta hasn’t shared the exact recipe, but a spy in the kitchen reports that she melts down a lot, but not too much, unsalted butter, with about the same amount of brodo (savory stock from boiling chicken and a bit of beef). She boils the spaghetti until it’s almost done, then adds the spaghetti to the butter and brodo, sautés by stirring quickly and once the noodles are completely coated, she adds a huge handful of finely grated Monte 27.  She stirs briskly again until the cheese melts and serves the creamy pasta immediately, piping hot, garnished with a dash of pepper.

Paired with a glass of elegant, deep berry-red, velvety Barbaresco from the Piedmont region and followed by a fresh fruity sorbet, such as one made of fragolino grapes served in a tall crystal flute, makes the perfect light meal.

Benedetta Vitali

Benedetta is celebrating the tenth anniversary of her modern-designed, but cozy, trattoria. The menu changes frequently, reflecting both what is fresh at the market and Benedetta’s eclectic taste, especially of her love for the dishes of southern Italy. Look for appetizers like octopus salad or a flan of cauliflower and Parmesan cheese. The pasta to choose is, of course, Morelli spaghetti with Monte 27 sauce, but a good second choice is pasta with shellfish like clams, mussels, or shrimp. Main-course selections may include braised lamb chops, pigeon stuffed with liver, and squid stewed in spicy tomato sauce. Seasonal vegetables are not to be missed, especially if there are fried zucchini blossoms. Desserts have been Benedetta’s specialty for thirty years, especially the torta di gianduia (creamed chocolate and hazelnuts) and candied orange peels topping creamy cheesecake.

To get to Zibibbo, either take the 14C bus from Piazza San Marco or the train station all the way to the last stop in Careggi or ask the taxi driver to be dropped off at Piazzetta di Careggi. From that little square, Zibibbo is only a few doors up Via di Terzollina. There is a sign, but the name ‘Zibbibo’ is not immediately evident.

Zibibbo Trattoria

Via di Terzollina 3/R, Florence; telephone: 011-39-55-433-383. Reservations necessary.

About $40 a person, not including wine.

Dante after all of the celebrations

SUNDAY (October 25, 2009) Dante was worn out after all of the “A Passo Duomo” celebration around the cathedral.

Balloons for all of those young or not so young

The new mayor of Florence had decreed that the entire piazza surrounding the Duomo would become a pedestrian mall instead of a busy thoroughfare where over 500 buses and thousands of taxis round the Duomo every day. To mark the renaissance of the city center, the mayor threw a party.

There were balloons and hot chestnuts and free entrance to the Baptistry.

The other Dante

Notable figures from history – Dante, Galileo, Leonardo Da Vinci – made an appearance and wandered the square.

Ancient ambulance

A parade of costumed flag-throwers, drummers and trumpeters escorted an ancient bus on one last ride down Via Martelli.

The Misericordia (the volunteer emergency medical service), located near the bell tower, displayed an antique ambulance.

The day ended with  Mozart, Bach and Mendelssohn echoing off the walls of the 600-year-old cathedral to a standing-room-only crowd, courtesy of the Maggio Musicale orchestra and chorus, directed by Seiji Ozawa.

Concert for Florence in the Duomo

MONDAY (October 26, 2009) is a different wonderful life for those wandering the historic center of Florence. For one block in every direction of the cathedral, the streets are filled with tourists (and a few locals), not traffic.

New pedestrian mall on Via Martelli

It has been suggested this will increase shopping in the historic center. It certainly makes it more inviting to linger rather than rush along.

No cars or busses to the Baptistry

Some have tried to quantify the environmental impact, saying that it will reduce the 450 kilos of fine particulate matter and the exceedingly high levels of carbon monoxide trapped between the buildings that line the piazza. Florence is one of the most polluted cities in Italy – so every little bit helps. However, with the drastic changes in the bus routes, there are now over 2,000 bus traveling through Piazza San Marco every day.

Temporary bus stop in Piazza San Marco

Maybe the mayor’s other decision to cancel the clean electric tramline routes throughout the city should be reconsidered. And now that the buses aren’t griming the Duomo, the bishop should consider steam-cleaning the back side of the cathedral.

Outside Santa Croce

As the November 4th anniversary of the 1966 flood that devastated Florence approaches, it’s the perfect time to read Robert Clark’s Dark Water: Art Disaster and Redemption in Florence, which was just released in paperback.

As Angela Leeper writes in her concise review in bookpage.com: “History and art criticism, with a dash of memoir thrown in, Robert Clark’s Dark Water chronicles how the flood of November 4, 1966—in which four million books, 14,000 works of art and 16 miles of documents were either damaged or destroyed—came to define the Italian city of Florence. Clark begins with a history of the city: its literary and artistic greats, its sins, its transformation into a tourist haven, and of course, its centuries of flooding. With each catastrophe, Florence’s residents were quick to place blame on God, their politicians or their immoral lifestyles.

Inside Santa Croce

“Clark continues his layered account with profiles of the residents, artists and volunteer ‘mud angels’ who began to salvage Florence’s treasures that November as the Arno River rushed by, improvising conservation and restoration on the spot. Throughout his evocative, detailed prose, he reflects on the city’s character and the ephemeral nature of beauty itself.”

A more detailed review was written by Michael Dirda in the Washington Post and can be found online.

For those who seeking more information about the 1966 flood, a website, florence-flood.com was created in 2006 on the 40th anniversary, to provide news, archives and photos.

The Courtyard of the Ancient Silk Factory

Noble Renaissance families made their fortunes through the manufacture and trade of fine silks.  In the mid-eighteenth century, some of these families decided to create a single workshop to combine their looms, warping machines, patterns, and fabric designs.  Located first on Via de’ Tessitori (”Street of the Weavers”) and then moved in 1786 to its present location on Via Bartolini, the silk workshop has never ceased operation, even when the roof was destroyed by bombs in World War II or when the workshop and storerooms were devastated by seven-foot flood waters in 1966.

Hand-Dying over a Wood Fire

Today, the Antico Setificio operates with eight master weavers and two apprentices — all, but one, are Florentine by birth. The factory obtains raw spun silk primarily from Brazil. The silk is hand-dyed at the workshop, wound onto spools on a machine built in the 1850s, from which the thread is then transferred to quills for the shuttles or onto an orditoio (warping machine), one of which was designed by Leonardo di Vinci and the other is an 1872 Benninger orditoio – both are in perfect working order.  Six handlooms from the eighteenth century and six mechanical nineteenth-century looms are used to create fabrics from patterns dating back to the Renaissance.

Built from a Design by Leonardo Di Vinci

Today, the production of the Antico Setificio Fiorentino is rarely made into fashionable clothing.  Instead, the fabric is used for the interior decoration of private homes and public buildings or the restoration of historic costumes, drapery and furniture.  Visitors are welcome in la sala di vendita (salesroom) where rolls of richly colored and patterned silks vie for space with finished products made of the supple fabric.

Renaissance Patterns Are Still Woven Today

Recently the workshop began working with modern textile designers to develop new patterns using the antique handlooms to create unique fabrics.  The skill of Setificio artisans and the use of the eighteenth-century handlooms assure the superior quality of the modern fabric — a direct result of “the luxury of going slowly.”

For more information, contact Antico Setificio Fiorentino, Via Bartolini 4, 50124 Florence, Italy (tele. 055/213861; fax 055/218174),  web site: anticosetificiofiorentino.it

An excellent book,  published in Italy, entitled “Antico Setificio Fiorentino” by Sabine Pretsch and Patrizia Pietrogrande, published by Le Lettre, Firenze 1999, has English translation included.

Each beach station has its own color scheme

In Italy, the best spot is already taken – everywhere.  This prime real estate is a ten foot square piece of sand on the front row (closest to the waterline) in one of the hundreds of beach stations (stabilimenti balneari or bagni) that line the sandy beach along the gently rolling Tyrrhenian Sea from Rome to Cinque Terre. It is only obtained through patience or primogeniture.

This, of course, is not the natural sea-washed, wind-ruffled, kid-pocked, littered and shell-strewn beach of the States or Britain. No, this is ten feet of perfectly groomed sand, topped by a large beach umbrella, a beach chair, two matching sling-back chairs and a long lounge with attached sun-shade.

Chairs for five under the umbrella

It’s crowded, especially after the allowable five people move into the space. It’s more crowded when the neighboring umbrellas on either side are raised and their quota of five people each arrive. But ,of course, if you have a spot on the front row, you know everyone around you – they have been friends, or even family, for decades.

It takes a lifetime to get to the front row

Each summer Italians spend as much time as possible, not only in the same seaside town, or at the same bagno, but on the same spot of sand, the same distance from the same sea.  They frequently rent the spot for three to four months each year. When no member of the extended family is present between the months of May to mid-September, no one else is allowed to sit under their umbrella, on their chairs, or on their ten-square feet of sand.

For Americans who for the most part don’t spend the summer holidays in the same place twice, this shows an astonishing commitment or a sad lack of imagination. But this is not unusual for Italians. A recent study showed that over 70% of Italians take their 30 to 60 days of vacation each summer at the same time and over 65% spend that holiday time in the exact same place every year.

Perhaps it is the chaos of their history and politics that push Italians into a comfortable conformity in their private lives.  They have a sense of humor about it all. In the 1960s, Piero Focaccia, a popular singer, warbled this tune:

Changing cabins for rent at the beach

Per quest’anno, non cambiare.
Stessa spiaggia, stesso mare.

For this year, don’t change
Same beach, same sea.

Italy is blessed with beaches, both east on the Adriatic Sea or the west on the adjoining seas:  Ligurian, Tyrrhenian, as well as the southern Ionian Sea.  The personalities of the coasts are clearly defined.  The east coast has thousands of stabilimenti lined up at Rimini, Ancona, San Benedetto and Lido di Jesolo, south to Pescara. The sea is flat and tepid, but the beaches rock with discos and luna parks.  The west coast has more rambunctious seas, but seems to have a more placid beach life, fewer teenagers looking to hook up, more groups of three or four middle-aged ladies standing knee deep in the water gossiping. Italians are opinionated and loyal – those that favor the east coast, do not let the west coast sand slide through their toes.

Actually, there is not a lot of sand-toe contact on the Italian beaches. Once the Italian family (this is not a solitary pastime; you only go to the beach with family or friends) selects its preferred coast, picks a town to match their socio-economic class (Forte dei Marmi for high-rollers, Viareggio and Lido di Camaiore for the well-to-do, Lido di Massa Carrara for the middle class) and puts down one to five thousand euro for the sixteen summer weeks (mid-May to mid-September) at a bath station, they will have a combination of the following amenities: a parking lot, an entry portico, a receptionist (for day or weekly renters), a bar or café, showers (mostly cold, some hot for a fee), toilets, changing cabins, restaurant, fresh- or sea-water pool (higher end establishments), video games, fooseball tables, boardwalks to the sea (wood, plastic, or rubber), a bagnino (lifeguard cum umbrella jockey cum sand raker), a flag pole with colored flags (red if sea is too rough), paddle boats for rent, and a rescue rowboat for the bagnino.

Upscale stabilimento balneari provides extra space

For the American with an exaggerated sense of personal space, the Italian beach scene, although colorful, can seem claustrophobic. For the Italian it is a joyful place of friends and family – teenagers fall in love, get married ten years later, socialize and play cards with other couples, have children – who play as babies/toddlers/teenagers, and then fall in love and start the cycle all over again.

As the summer ends and the ombrelloni are put away, Italians say goodbye to their beach mates with promises of “Stessa spiaggia, stesso mare” next year.

Casks used to ferment Traditional Balsamic Vinegar

Traditional Balsamic Vinegar (Aceto Balsamico Tradizionale) is produced in the area around Modena, which was once the ancient lands of the ducal family of Este.

Acelto Balsamico Tradizionale of Dukes of Este (18th cent.)

With no addition of any aromatic substances, Traditional Balsamic Vinegar is obtained from cooked grape-must, which is slowly turned into a rich, think, sweet deep caramel-colored liquid from natural fermentation and progressive concentration through a very long (10 to 100 years) ageing process in a set of progressively smaller casks of different kinds of wood.

Traditional Balsamic Vinegar is a deep, dark and bright brown color with a smooth thick density. The taste is a well balanced sweet and sour that changes depending on the types of wood used for the aging.

The main difference between the Traditional Balsamic Vinegar and all other vinegars is not only the material from which it is obtained, but most of all the alchemy of time together with the knowledge and know-how of a tradition of ancient origin.

The so-called balsamic vinegar, found in the U.S. at neighborhood supermarkets or on the table of most Italian restaurants, is frequently made of a splash of Aceto Balsamico Tradizionale mixed with a large quantity of regular red wine vinegar, or worse, is sweetened red wine vinegar with caramel coloring.

Copper-lined Pot used to Cook Grape-must for Balsamic Vinegar

The Museo Balsamico Tradizionale provides a comprehensive explanation, through both an English-language film and rooms filled with ancient and modern equipment, of the deceptively simple process for making this sublime nectar.

Bottles of Aceto Balsamico Tradizionale di Modena

The museum is compact, but a visitor emerges with an understanding of the history, culture and pride of the producers located in a narrow a strip of land in the Italy’s Emilia Region. The museum displays reveal true complexity of the product’s preparation that time and experience have made perfect; argues for the need to protect its name, control its genuineness and regulate its production so as to avoid any form of industrialization.

Museo del Balsamico Tradizionale

Villa Comunale Fabriani
Via Roncati, 28
41057 Spilamberto (Mo)

tel. +39 059 781614
fax +39 059 7861913

e-mail: info@museodelbalsamicotradizionale.org

Hours:

Tuesday to Sunday 9.30 – 13.00 / 15.00 – 19.00

The Museum is closed for holidays, including December 23 – 25, and January 1.

Tickets:

€ 2,00
€ 4,00 w/ tasting (only on Sunday morning or by reservation)
€ 1,00 for seniors over 65
Free for minors under 18

Guided Visit:

Only with prior reservation: info@museodelbalsamicotradizionale.org

Web Site:

http://www.museodelbalsamicotradizionale.org

Ammannati greets Greg Wyatt

Greg Wyatt, a native of Grand View-on-Hudson, New York, presently holds the position of Sculptor-in-Residence at the Cathedral Church of St. John the Divine in New York City. Cast bronze is his primary medium of artistic expression. Dr. Anthony Janson, editor of W.H. Janson’s History of Art, has stated that Wyatt’s work is based on the philosophy of “spiritual realism.”

Mr. and Mrs. Wyatt watch the placement of Two Rivers

Yesterday, Wyatt’s mammoth sixteen-foot bronze, Two Rivers, said to symbolize the creative relationship forged between the world of Florence’s Arno River and that of New York’s Hudson River, arrived in Piazza Signoria from a foundry in France. It will remain in the shadow of the Palazzo Vecchio until November 24, 2009. Wyatt has donated the statue to the City of Florence where it will take its place among other modern works in Piazza Poggi.

Detail of Two Rivers by Greg Wyatt

Inside the Sala d’Arme a number of Wyatt’s smaller works will be on display for free viewing by the public from September 5 to November 24. The excellent exhibition catalog (with Italian/English translation by Tuscan Traveler’s own Francesca Boni) will be on sale. The opening ceremony will take place at 7:30pm on Saturday, September 5.

Two Rivers in the shadow of the Palazzo Vecchio

An interesting interview with Greg Wyatt where he discusses his artistic influences and philosophy, as well as the process of creating his bronze sculptures can be seen online.

Savory cured meats hand-made in Parma

For centuries and still today the area south of the Po River and north of the Apennine ridge of mountains, is famed for its prosciutto, cured hams.  It is a land rich in oaks yielding acorns for feeding pigs; guaranteed a supply of special preserving salt from thermal springs; and blessed by the marine winds from the Mediterranean Sea for drying the savory haunches.

Museum of Prosciutto and Cured Meats of Parma

The Museum of the Prosciutto and cured Meats of Parma is dedicated to these gifts of nature, to the gastronomic culture that developed prosciutto, to its history and to the generations of people who have faithfully passed on its secrets.

Inside the museum, there is an exhibition detailing the production of Parma’s prized cured meats. You can also follow the changes in production methods from ancient pork butchery to modern technologies.

Prosciutto hand-made in 1930 using methods still practiced today

There are eight sections in the museum composed of photographs, historic documents, machinery, and audio-visual productions. The museum strives to define the region, the pig breeds used for certain products, the historic and political role of salt, pork butchery, and the many types of traditional Parma salumi (cured meats). There is also information about importance of the Prosciutto di Parma Consortium and their work to safeguard quality.

High praise for the cured meats of Parma

A visit to the museum ends in the tasting room where a variety of sliced meats and local products are served.  For a very special afternoon, add a tasting of local wines.

Museum of Prosciutto and Cured Meats of Parma

Via Bocchialini, 7
Langhirano (PR)

Open to the public:

From March 1 to 8 December
Saturday, Sunday and holidays: 10.00 – 18.00
Monday to Friday: by appointment for groups

From December to February:  Closed

Ticket Prices:

Full:  € 3.00
Reduced:  € 2.00 groups (minimum 15 people), adults over 65 years
Reduced for schools:  € 1.50 schools and children from 6 to 12 years
Free:  disabled and their escorts, children under 6 years

Sampling of Prosciutto di Parma:

Full:  € 3.00
Reduced:  € 1.50 (for children under 15 years)

Guided tours

For groups of up to 25 people: € 20.00 in addition to the ticket price – reservation necessary.

Museum Shop

Publications and typical products of the territory.

Information and reservations (required for groups and schools):

IAT Torrechiara: Tel. +39-0521-355009 – Fax. +39-0521-355821

Museum of Prosciutto: Tel. +39-0521.864324

E-mail: prenotazioni.prosciutto@museidelcibo.it

Web Site: www.museidelcibo.it

Parmigiano Reggiano - The King of Cheeses

The famed quality of Parmigiano-Reggiano cheese is the excellent and well-balanced result of many factors, from the particular lushness of pasturelands and milk, to the artisan techniques of production (unchanged for seven centuries), to natural ripening and maturing processes (a total absence of preservatives, additives, anti-fermenting agents or colorants), together with the rigorous quality controls imposed by the Consortium of Parmigiano-Reggiano Cheese (begun in 1934).  The Consortium brought together the cheese producers working in the provinces of Parma, Reggio Emilia, Modena, Mantova and Bologna, which constitutes the protected production zone.

The latest statistics (2002) counted 547 Consortium members, who relied on 270,000 cows belonging to 7,000 farmers for their milk. Annually about 409,425,000 gallons of milk are used to make 245,691,900 pounds of cheese, for a total of 2,937,535 wheels. Between 88-90% of these wheels are eaten in Italy. An average of 90,000 wheels are exported every year to the USA. Producing a pound of Parmesan takes about two gallons of milk and each wheel weighs an average of 66 pounds.

Museum of Parmesan Cheese - Soragna, Italy

Housed in the only surviving mid-19th century round casello of the cheese works once owned by the Prince Meli Lupi, the Parmesan Cheese Museum has three rooms. In the first, the various production phases of the cheese, which is only made between April 15 and November 15 when the animal feed (mixed grasses and clover) is at its best and the milk at its richest, are explained through the display of equipment and hundreds of utensils necessary for hand-making and distributing this “king of cheese.” An 18th-century copper cauldron, an old milk wagon that was pulled by hand, an early steam boiler to heat the milk in the cauldron uniformly, and an early 20th-century churn are included in the collection.

Copper Pots for making Parmesan Cheese

In the second display room, called Sala della Salamoia or Curing or Salting Room, are panels illustrating the history of Parmesan, which was mentioned by Columella, Varro, and Martial, and seems to go back to ancient Roman times, but the first surviving historical documents date to Parma’s Abbey of S. Martino dei Bocci in the late 1290s. At first the wheels were only 3.2 inches high in contrast with the 10 inches of today. They were covered with salt instead of immersed in salt water. Boccaccio’s Decameron (1348-49) boasts the cheese’s first literary reference: in the third story of the eighth day, the poet poked fun at the gullibility of Calandrino, one of his characters, by having him believe that in Bengodi, in Parmesan country, there was a mountain consisting entirely of grated cheese and that the people who lived there did nothing, but cook macaroni and ravioli, which they rolled down the slopes so that the pasta arrived at the bottom coated with fragrant cheese.

Floor Plan of the Museo del Parmigiano Reggiano

The third room, the Sala del Latte or Milk Room, is devoted to the ageing process – at least two years (vecchio or old), better yet three (stravecchio or very old), and preferably four  (stravecchione or the oldest) – and to the history of the Consorzio or the consortium, the producers’ co-operative.  An excellent English language film presents the history and process of making Parmesan cheese.

A tasting of Parmesan cheese is offered after your visit.

A quaint little private farm museum is situated in the modern part of the building and is open only if the proprietor is there.

The Museum of Parmigiano-Reggiano:

c/o Corte Castellazzi,
Via Volta, 5
Soragna (Parma)

Opening Hours:

From March 1 to 8 December
Saturday, Sunday and holidays: 10.00 – 13.00, 15.00 – 18:00
Monday to Friday, only by booking

From December to February
Closed.  Access to the museum is possible only by booking.

Fee, including tasting:

€ 5 single ticket,
€ 4 groups over 15 people and over 65’s,
€ 3 reduced ticket for obligatory schools (accompanying teachers free) and children between 6 – 12 years,
Free handicapped entrance with accompaniers, accompanying teachers, journalists and children under 6.

Guided Tours:

On booking you can also book a guided tour.  As well as the entrance ticket each tour costs € 20 for a maximum of 25 people

Booking for Groups:

Telephone:  +39.0524.596129

E-mail: prenotazioni.parmigiano@museidelcibo.it

Web Site:

www.museidelcibo.it