Volterra

---Volterra---

Albergo Etruria

via Matteotti 32
Volterra (Pisa)
Tel.058887377
Fax.058892784

e-mail info@albergoetruria.it

http://www.albergoetruria.it/index.htm

Volterra is a town in the Tuscany region, Italy. The town has a history which dates back to the Etruscan Period. This town was a Neolithic settlement and an important Etruscan center with an original civilization; it became a municipium in the Roman Age. The city was a bishop's residence in the fifth century and its episcopal power was affirmed during the twelfth century. With the decline of the episcopate, Volterra was the subject of the interest of Florence, which defeated Volterra many times though rebellions sometimes took place. When the Florentian Republic fell in 1530, Volterra came under the control of the Medici family. Among the sights to see in Volterra are the Piazza dei Priori, one of Italy’s most beautiful squares, surrounded by impressive 14th-century buildings; the Palazzo dei Priori; the municipal Picture Gallery; the Romanesque Cathedral; the Baptistery; the arched Porta all’arco; the Etruscan acropolis; the Medicean fortress named "Maschio"; the alley called Viale dei Ponti; Via dei Matteotti; the Guarnacci Etruscan Museum, with thousands of funeral urns dating back to the Hellenistic and Archaic periods; the archaeological excavations of the city's Roman amphitheatre; and the tombs in Valle Bona.

Volterra stands on a rocky hill some 1770 feet above the sea level, located between the rivers Bra and Cecina, and is surrounded by strong walls. The district is rich in alabaster, the working of which was an important industry of the city, and in mineral waters, such as those of S. Felice and the Moie, or salt springs. Still more important are the Soffoni of Larderello, from which boric acid is extracted, the sulphur lake of Monterotondo, the copper springs of Caporciano, and the baths of Montecatini.

The cathedral, consecrated by Callistus II in 1120, was enlarged by Andrea Pisano in 1254, and again in 1576. The high altar is adorned with sculpture by Mino da Fiesole. Among the pictures is an "Annunciation" by Luca Signorelli, and there are pictures by Benvenuto di Giovanni, Leonardo da Pistoia, and others. In the baptistery (1283) are a font by Sansovino and a ciborium by Mino da Fiesole. Other churches are those of S. Lino (1480) and S. Francesco. The Palazzo Publico (1217) holds the extensive archives of the city. The Palazzo Tagani houses an important museum of Etruscan and Roman antiquities. In the Etruscan period, Volterra, called Felathri by the Etruscans and Volaterrae by the Romans, was one of the most important cities in the Etruscan Confederation. From the period of the kings, it was at war with Rome. In 298 B.C., when he became consul, Scipio gained a victory here over the Etruscan armies. In the Punic Wars, however, the city was allied with Rome. In 80 B.C. it was taken by Sulla, after a siege of two years. Remains of the ancient surrounding walls, including the Etruscan the Porta dell' Arco,
may still be seen, as well as of baths, an aqueduct, an amphitheatre (see picture below), and, above all, of several Etruscan burial places.



In the Carlovingian period, Volterra belonged to the Marquisate of Tuscany. With the approval of Henry, son of Barbarossa, the government of it afterwards passed into the hands of the bishop, until his temporal authority was suspended by the commune. In the wars or factions of the thirteenth century, Volterra, being Ghibelline, was continually embroiled with the Florentines, who captured it in 1254, but obtained definitive possession of it only in 1361. In the middle of the city rises the Rocca Vecchia, built in 1343 by the Duke of Athens and enlarged by the Florentines. In 1472, it attempted a rebellion against Florence but without success, and was then deprived of many of its rights.

The richness of the Etruscan finds made in and near Volterra make it a mecca for enthusiasts of all things Etruscan, with an unparalleled collection of Etruscan antiquities being displayed in the Guarnacci Museum.

Volterra is the native city of the poet Persius Flaccus, of the humanists Tommaso Inghirami and Raffaele Maffei, of the painters and sculptors Baldassare Perugini and Daniele Ricciarelli. According to the "Liber Pontificalis", Volterra was the birthplace of St. Linus, the immediate successor of St. Peter. Nothing is known as to its Christian origins. Eucharistus, the first bishop of Volterra of whom there is any record (495), was deposed by the pope, and Helpidius (496) was put in his place. Justus (560) was at first involved in the Schism of the Three Chapters. Other bishops were: Gunfridus (1014), whose metrical epitaph is to be seen in the cathedral; Herimannus (1066), a Camaldolese monk and reformer of the clergy; Galgano, killed by the people in 1172, for some unknown reason; St. Ugo dei Conti del Castel d'Agnato (1173 84), a defender of the rights of his church, and founder of a college for the education of clerics; Pagao dell'Ardenghesca (1213), who vainly endeavoured to retain the temporal government of the city. The conflict on this score was continued under Pagano's successors, particularly under Raineri Belforti (1301). Roberto degli Adimari was deposed for taking part in the Council of Basle. Joseph du Mesnil (1748) died a prisoner in Castel Sant' Angelo. Giuseppe Incontri (1806) distingished himself by his beneficence. Pius IX made his first studies in the Piarist College at Volterra.

Montepulciano

--Montepulciano--

Meublè Il Riccio
Via di Talosa, 21 - 53045 Montepulciano SIENA
Phone & Fax +39/0578/757713

http://www.ilriccio.net/english/index.html

"In Montepulciano, from 1080, there lived a noble and wealthy family known as de'Pucci, who in the years to come would provide their country with many men who became illustrious in the field of science, the army, the magistrature and in the church hierarchy. Their palazzo was in via Tolosa (or rather Talosa) in the parish of St.Maria, an old church later destroyed to make way for the late 16th Century cathedral.
Today both via Talosa and the Pucci palazzo survive".

All this can be read in a guide book of Montepulciano.

The palazzo, which after the Council of Trent (1545 - 1563) was destined to become an episcopal seminary, has had various owners including the famous Bellarmini family.

San Roberto Bellarmini (also called Bellarmino), was a Jesuit Cardinal and a bitter opponent of Galileo Galilei. Another of the famous owners was the Ricci family.

After years of decay and neglect by a series of owners, in 1949 the palazzo was bought by Professor Attilo Caroti, who, after partially restoring it made it into the base for the prestigious Italian School of Mosaics. In the 1980s, part of the palazzo, having been entirely restructured, became the hotel Meublè IL RICCIO , managed with love and attention by Giorgio and Ivana Caroti.

Every corner of the palazzo pays testimony to its history, especially the impressive courtyard at the entrance with its tiled floor and its pointed arches on two sides held up by travertine columns in Tuscan style and an independent-standing upper gallery in Ionic style.

The history of these walls has remained intact for those who would like to appreciate their fascination and their magic in a peaceful and relaxing atmosphere.

Montepulciano, a town and commune in the province of Sienain southern Tuscany, (Italy), is a medieval and renaissance hill town of exceptional beauty. Montepulciano, with an elevation of 605 m (around 2000 ft), sits on a high limestone ridge. By car it is 13 km (8 miles) E of Pienza; 67 km (40 miles) SE of Siena; 124 km (74 miles) SE of Florence; 186 km (115 miles) N of Rome.

Montepulciano is a major producer of food and drink. Wine connoisseurs consider its Vino Nobile) among Italy's best. Montepulciano is also known for its pork, cheese, "pici" pasta (a thick, rough, chewy variant on spaghetti), lentils, and honey.

Main sights

The main street of Montepulciano stretches for 11.5 kilometers from the Porta al Prato to the Piazza Grande at the top of the hill. The main landmarks include:

• The Communal Palace
• Palazzo Tarugi
• The church of Santa Maria delle Grazie (late 16th century). It has a simple Mannerist façade with a three-arcade portico. The interior has a single nave, and houses a precious terracotta altar by Andrea della Robbia.
• The Sanctuary of the Madonna of St. Blaise, on the road to Chianciano outside the city. It is a typical 16th century Tuscan edifice, designed by Antonio da Sangallo the Younger on a pre-existing Pieve, between 1518 and 1545. It has a circular (central) plan with a large dome over a terrace and a squared tambour. The exterior, with two bell towers, is built in white travertine.

Town view of Montepulciano.

The Sanctuary of St. Blaise.

The walls of the city were designed and built under the direction of Grand Duke Cosimo I de' Medici in 1511 by Antonio da Sangallo the Elder

The walking tour

Montepulciano is built along a narrow limestone ridge at 605 m above sea level. A long, winding street called the Corso climbs up to the main square, which crowns the summit of the hill. The town is encircled by walls and fortifications designed by Antonio da Sangallo the Elder in 1511 for Cosimo I. Inside the walls, the streets are crammed with Renaissance-style palazzi and churches, but the town is chiefly known for its "Vino Nobile" wines.

Arriving at Montepulciano after having passed round the top of the hill along the beautiful tree-lined street and past Poggiofanti Gardens, you come to the Church of St. Agnes, the patron saint of Montepulciano, who died in 1317. In its modern facade (1926) there is a Gothic portal. The interior of the church was renovated in the 18 C, the nave mostly in the XVII century. Many art works in the church date back to this period, among them the monument where St. Agnes's body rests.

Via Roma

Following the avenue, you reach Porta al Prato where the Via Roma starts. Following Via Roma, you reach a little square where the "Marzocco", the symbol of Florence's authority, stands on a column. This lion replaced the "She-wolf", the symbol of of Siena, in 1511 and is the work of the sculptor, Sarrocchi (1856). In front of the column is the Palazzo Avignonesi which is attributed to Vignola and dates back to the 16 C. Its style is pure late-Renaissance. Close to the Palazzo Avignonesi stands the Baroque Church of St. Bernard and in front of the Palazzo Avignonesi there is the late-Renaissance Palazzo Tarugi. Its lower level is characterized by ashlar-work. This building is also attributed to Vignola. Other Renaissance palaces bordering the Via Roma are: Palazzo Cocconi-Del Pecora, designed by Antonio da Sangallo, and Palazzo Buccelli with Etruscan cinerary urns and tablets with Etruscan and Latin inscriptions displayed at its base.

Church of St. Augustine

Be sure to visit the Church of St. Augustine, one of the most beautiful and interesting buildings in Montepulciano. Its facade was designed by Michelozzo Michelozzi (1396-1472) in the first decade of the 15 C. As Brunelleschi's disciple and collaborator, as an architect, and Donatello's disciple as a sculptor, the artist used simple and elegant Renaissance forms in the lower level. The portal has a lunette placed in the upper level and on its top an irregular tympanum stands between two thin and pointed towers like flames. They represent Gothic features which recur in the Gothic niches of the upper level. It is possible that the remaining part of the facade was completed by another architect who adopted Renaissance forms. The inside was rebuilt in the 18 C and the original design was transformed. Inside, you can admire works by Barocci, Allori, Lorenzo di Credi. On the high altar there is a wooden crucifix attributed to Donatello.

In front of the church you will find the characteristic Pulcinella (16 C) which strike hours on the bell.

Continue downwards

Going downwards, on the left, you reach Palazzo Cappelli with frescoes by F. Zuccari at the entrance.

Take the steep street and you arrive in front of a large threefold arcade of Loggia del Mercato, attributed to Scalza.

Going downwards, through Via Cavour, you reach to Palazzo Cervini, designed by Antonio da Sangallo the Elder; Palazzo Cagnoni attributed to Vignola; the Seminary Palace close to which there is the Church of Jesus Christ designed by Andrea Pozzo in the 17 C. The facade is unfinished but the inside is beautiful and elegant.

Next to Via del Poliziano, on the left at No. 1 you find Agnolo Poliziano's house. The artist was born in June 14th, 1454.

After a few metres, you come next to the Church of Our Lady of Servants, built in the 16 C. It presents a beautiful pointed portal and, on its roof, Gothic hanging arches. The Baroque interior was designed by Andrea Pozzo.

Piazza Grande of Montepulciano

On the right of the church, take the street which goes around the Fortress and comes out in Piazza Grande. This is the ideal and monumental centre of Montepulciano. It is one of the most beautiful squares of the minor towns of Tuscany, and preserves in silence recollections of past magnificence and high civilization. The square is bordered by important buildings: the Cathedral, with its unfinished facade; on the left, the unfinished Bell Tower dating back to the second half of the 15 C.

The Duomo

Where the Cathedral stands today, there was an ancient parish church which came to be considered to be inadequate and bare when beautiful buildings were built in Piazza Grande and the nearby streets. In 1583 the ancient sacristy began being pulled down and, after much debate, Bartolomeo Ammannati was asked to provide a new design which was ready in 1588. However, some years passed before work began. Meanwhile, Ammannati died. In 1593 Ippolito Scalza, a sculptor and architect of Orvieto, was employed. He adjusted the design and most probably completely rearranged the plan. In 1594, construction began and in 1680 the church was consecrated. However, the facade was never finished.

The inside consists of three aisles divided by arches resting on pillars. On the sides there are chapels. On the high altar you can admire the monumental polyptych by Taddeo di Bartolo (1410), a painter of Siena who was born in 1362 and died in 1422. In Padua he was in touch with Altichiero, one of Giotto's disciples, and he was influenced also by other painters from the Northern Italy such as Giovanni of Milan and Barnaba of Modena. It is one of his richest and most famous works, and very beautiful. It represents at its centre Our Lady's Assumption among Saints piously gathered around Her; on the top and at the centre the Coronation; laterally the Annunciation and on the pillars many figures of Saints. At the sides of the high altar stand two statues that form part of the Aragazzi Monument, representing Fortitude and Justice or Science and Faith. On the right of the high altar, leaning on a pillar, there is a fine representation of St. Bartholomew blessing the congregation. According to the ideal reconstruction of the Aragazzi Monument, the Saint ought to have been on the tomb to turn to the dead. A design of the facade of the Cathedral and the reconstruction of the Aragazzi Monument, designed by Emanuele Marcucci, are kept in the Sacristy.

The Palazzo Comunale

The Town Hall with its beautiful central tower dates back to the 16 C and brings to mind the Palazzo Vecchio in Florence. It is a simple building with Guelph merlons and solid corbels. In the lower part, the ashlar-work is irregular and rough, in contrast to the openings of the rectangular windows which are present in the upper level in a regular rhythm. From the tower you can admire a beautiful panorama during clear and bright days.

In front of the Town Hall is Palazzo Del Monte (today Palazzo Contucci). In 1519 Antonio da Sangallo the Elder began work ordered by the Cardinal of Santa Prossede, Antonio Ciocchi Del Monte, who was Pope under the name of Julius III. The Cardinal caused many buildings to be pulled down to make room for the palace defined by Vasari as "well refined and constructed with great elegance".

In front of the Cathedral you can admire the austere Palazzo Nobili (today Palazzo Tarugi) attributed to Antonio da Sangallo the Elder. The porch, which today is blind, followed the rhythm of columns in the lower level. Windows rest on small corbels and support a curved gable; the noble portal is decorated by round arches.

The Well supports two lions which support the Medici coat-of-arms. It is similar to the coat-of-arm in the Rectory of St. Blaise. As a result, it is attributed to Sangallo. Close to it, the inward Police Court Building presents its 14 C side in Via Ricci. It was inhabited by the captain of the population.

When you reach to Via Ricci, you will find on the left a building attributed to Baldassarre Peruzzi (16 C), the Palazzo Ricci. Its facade underlines the elegant rhythm of the surface by a cornice gathering windows and recurring on the upper level at the base of the mezzanine.

Going downwards, on the left, you will find the Chapel of St. Antony, "of the Knights of St. Stephen". Down the street, there is Palazzo Benincasa with the bust of Gian Gastone dei Medici in the portal. A large square opens out into a panorama of the country. The Church of St. Francis, in the past dedicated to St. Margaret, presents on its right facade the remains of a pulpit from where St. Bernardine is said to have preached. The portal is in Gothic style. Inside, the nave has lost its original plan. The paintings on the altars are not so very important.

The Church of the Madonna di San Biagio

After having visited the town, go next to the church of the Madonna di San Biagio designed by Antonio di Francesco Giamberti, known as Antonio da Sangallo the Elder, and consecrated by Pope Clement VII in 1529. It rises in open country below the city walls and was built on the remains of the ancient parish church of St. Blaise where, according to tradition, a painting of Our Lady was seen moving her eyes.

It presents a Greek-cross plan surmounted by a dome and with four equal wings. In the south wing there is a semicircular sacristy. On both sides of the northern wing, there are bell towers, one of which is unfinished. All the wings display a Doric lower level with metopes and triglyphs as a seal. The upper level has an architrave and is surmounted by a tympanum. Simple decorations adorn classical portals and windows. The dome stands on a tambour divided by Ionic pilaster strips alternating with niches. It ends with a narrow and elegant lantern. Inside, there few decorations other than the rhythm of large arches and classical ornamental elements, such as tympanums, metopes, triglyphs and niches with their altars in harmony ending with the narrow dome illuminated by the lantern. The big high altar is by Albertini (1584). Frescoes representing the Transition, the Assumption and the Coronation of Our Lady are attributed to Zuccari (16 C). In front of the church there is the Plebiscite or the Rectory of St. Blaise. The beautiful well with its curved line is similar to the well in Piazza Grande.

The legend of the foundation of Montepulciano

In keeping with its past civilization, Montepulciano has a founding legend. In fact, the town is said to originate with a noble who withdrew from Chiusi during the first barbaric invasions. He dwelt on this splendid hill which took the name "Mons Politus e Polictus" - the Mount of the Noble. The common people of Chiusi went to Città dell Pieve which, as a result, took the name "Civitas Plebis". The more important version of the founding legend is that Larte Porsena, the lucumon of Chiusi (Charmas) founded the village or that it was built after an hypothetical destruction of Chiusi in the times of Papiro Carbone and Silla.

History of Montepulciano

On the Hill of Poliziano, there was a temple dedicated to Mercury from which it took the name Mons Mercurius. The presence of many Etruscan remains indicates that Montepulciano's outskirts have been inhabited since that period. However, according to some scholars, the fact that the temple which was set up on the location of the present Fortress and which was dedicated to St. Donatus in 361 implies that this place was not inhabited during the Roman period. It was possibly not inhabited until the 6 C when the population of Chiusi arrived, having been put to flight by barbarian invasions. They first settled in the area known as Collazzi. Evidence for the existence of this town appeared for the first time in a document of 715 where it is clearly named as "Mons Politianus". Montepulciano was given the title of "imperial town" by Otto I. It was always the subject of contention among Florence, Siena, Perugia and Orvieto, even when the town enjoy independence and autonomy.

The inhabitants did not like Siena which was always perceived to be their enemy and in 1202 they swore fidelity to Florence. Nevertheless, it was under the domination of Siena the present Fortress named "Castrum Politianum" was built. In 1266, Montepulciano put itself under the protection of Carlo I d' Angiò to throw off the yoke of Siena. In 1287 Montepulciano was among the towns Florence wanted to be part of the Guelph "taglia", together with Lucca, Arezzo and Chiusi.

In 1358, ever the enemy of Siena, Montepulciano formed an alliance with Perugia and defeated the Siennese army. After many vicissitudes, in 1511 Montepulciano fell definitively to Florence. When Montalcino, Radicofani, Buonconvento and Pienza were on the point of defending Siena's freedom against the Medicis' domination, Montepulciano was named by Cosmo I Medici a "noble town". Montepulciano could not tolerate Siena's domination because it felt at the same level as Siena in terms of culture, power and civilization. Montepulciano was the birthplace of Angelo Ambrogini, known as Poliziano, a great poet of the Medici court during the Renaissance; St. Robert Bellarmino, who was one of Galileo's friends and was charged to bring him the news of his conviction; Pope Marcellus II and other Popes.

Wine

Italian wine

Italy is one of the oldest wine regions in the world. Etruscans and Greek settlers produced wine in the country long before the Romans started developing their own vineyards in the second century BC. Roman wine-growing was prolific and well-organised, pioneering large-scale production and storage techniques like barrel-making and bottling.^[1] Two thousand years later, Italy remains one of the world's foremost producers, responsible for approximately one-fifth of world wine production in 2005.^[2]

Wine is a popular drink in Italy. Many Italians drink it with every meal and in-between, and offer it to guests as soon as they arrive. Grapes are grown in almost every part of Italy, with more than 1 million vineyards under cultivation. Each region is proud of its carefully tended, neatly pruned vines. In some places the vines are trained along low supports. In others they climb as slender saplings. The people of each region are also proud of the wine they make from their own grapes.

Most winemaking in Italy is done in modern wineries, but villagers, making wine for their own use, sometimes tread the grapes with their bare feet until the juice is squeezed out. They believe this ancient method still makes the best wine.

As far as generalizations can be made, Italian wines tend to be acidic, dry (light-to-medium bodied, and subdued in flavour and aroma. Because of these characteristics, Italian wines are, in general, a better accompaniment to food than they are beverages to be enjoyed on their own.

Rosso (Red)

• Sangiovese - Italy's claim to fame, the pride of Tuscany. Its wines are full of cherry fruit, earth, and cedar. It produces Chianti Classico, Rosso di Montalcino, Brunello di Montalcino, Rosso di Montepulciano, Montefalco Rosso, and many others.

• Nebbiolo - The most noble of Italy's varietals. The name (meaning "little fog") refers to the autumn fog that blankets most of Piedmont where it is grown, a condition the grape seems to enjoy. It is a somewhat difficult varietal to master, but produces the most renowned Barolo and Barbaresco, made in province of Cuneo, along with the lesser-known Sforzato, Inferno and Sassella made in Valtellina, Ghemme and Gattinara, made in Vercelli's province. The wines are known for their elegance and bouquet of wild mushroom, truffle, roses, and tar.

• Montepulciano - The grape of this name is not to be confused with the Tuscan town of Montepulciano; it is most widely planted on the opposite coast in Abruzzo. Its wines develop silky plum-like fruit, friendly acidity, and light tannin.

• Barbera - The most widely grown red wine grape of Piedmont and Southern Lombardy, most famously around the towns of Asti and Alba, and Pavia. The wines of Barbera were once simply "what you drank while waiting for the Barolo to be ready." With a new generation of wine makers, this is no longer the case. The wines are now meticulously vinified, aged Barbera gets the name "Barbera Superiore" Superior Barbera, sometines aged in French barrique becoming "Barbera Barricato", and intended for the international market. The wine has bright cherry fruit, a very dark color, and a food-friendly acidity.

• Corvina - Along with the varietals rondinella and molinara, this is the principal grape which makes the famous wines of the Veneto: Valpolicella and Amarone. Valpolicella wine has dark cherry fruit and spice. After the grapes undergo passito (a drying process), the Amarone they yield is elegant, dark, and full of raisinated fruits. Some Amarones can age for 40+ years.

• Nero d'Avola - Nearly unheard of in the international market until recent years, this native varietal of Sicily is gaining attention for its robust, inky wines.

• Dolcetto - A grape that grows alongside barbera and nebbiolo in Piedmont, its name means "little sweet one"", referring not to the taste of the wine, but the ease in which it grows and makes great wines, suitable for everyday drinking. Flavors of concord grape, wild blackberries and herbs permeate the wine.

• Negroamaro - The name literally means "black and bitter". A widely planted grape with its concentration in the region of Puglia, it is the backbone of the acclaimed Salice Salentino: spicy, toasty, and full of dark red fruits.

• Aglianico - Considered the "noble varietal of the south," it is primarily grown in Campania and Basilicata. The name is derived from hellenic, so it is considered a Greek transplant. Thick skinned and spicy, the wines are both rustic and powerful.

• Sagrantino - A native to Umbria, it is only planted on 250 hectares, but the wines are world-renowned. Inky purple, with rustic brooding fruit and heavily tannic, these wines can age for many years.

• Malvasia Nera - Red Malvasia varietal from Piedmont. A sweet and perfumed wine, sometimes elaborated in the passito style.

Other major red varieties are Ciliegolo, Gaplioppo, Lagrein, Lambrusco, Monica, Nerello Mascalese, Pignolo, Primitivo, Refosco, Schiava, Schiopettino, Teroldego, and Uva di Troia.

“International” varietals such as Merlot, Cabernet Sauvignon, Syrah, and Cabernet Franc are also widely grown.

Bianco (White)

• Trebbiano - Behind cataratto (which is made for industrial jug wine), this is the most widely planted white varietal in Italy. It is grown throughout the country, with a special focus on the wines from Abruzzo. Mostly, they are pale, easy drinking wines, but trebbiano from producers such as Valentini have been known to age for 15+ years. It is known as Ugni Blanc in France.

• Moscato - Grown mainly in Piedmont, it is mainly used in the slightly-sparkling (frizzante), semi-sweet Moscato d'Asti. Not to be confused with moscato giallo and moscato rosa, two Germanic varietals that are grown in Trentino Alto-Adige.

• Nuragus - An ancient Phoenician varietal found in southern Sardegna. Light and tart wines that are drunk as an apertif in their homeland.

• Pinot Grigio - A hugely successful commercial grape (known as Pinot Gris in France), its wines are characterized by crispness and cleanness. As a hugely mass-produced wine, it is usually delicate and mild, but in a good producers' hands, the wine can grow more full-bodied and complex. The main problem with the grape is that to satisfy the commercial demand, the grapes are harvested too early every year, leading to wines without character.

• Tocai Friuliano - A varietal distantly related to Sauvignon Blanc, it yields the top wine of Friuli, full of peachiness and minerality. Currently, there is a bit of controversy regarding the name, as the EC has demanded it changed to avoid confusion with the Tokay dessert wine from Hungary.

• Ribolla Gialla - A Slovenian grape that now makes its home in Friuli, these wines are decidedly old-world, with aromas of pineapple and mustiness.

• Arneis - A crisp and floral varietal from Piedmont, which has been grown there since the 15th century.

• Malvasia Bianca - Another white varietal that peeks up in all corners of Italy with a wide variety of clones and mutations. Can range from easy quaffers to funky, musty whites.

• Pigato - A heavily acidic varietal from Liguria, the wines are vinified to pair with a cuisine rich in sea-food.

• Fiano (wine) - Grown on the southwest coast of Italy, the wines from this grape can be described as dewy and herbal, often with notes of pinenut and pesto.

• Garganega - The main grape varietal for wines labeled Soave, this is a crisp, dry white wine from the Veneto wine region of Italy. It's a very popular wine that hails from northeast Italy around the city of Verona.

Super Tuscans

The term "Super Tuscan" describes any Tuscan red wine that does not adhere to traditional blending laws for the region. For example, Chianti Classico wines are made from a blend of grapes with Sangiovese as the dominant varietal in the blend. Super Tuscans often use other grapes, especially cabernet sauvignon, making them ineligible for DOC(G) classification under the traditional rules.

In the 1970s Piero Antinori, whose family had been making wine for more than 600 years, decided to make a richer wine by eliminating the white grapes from the Chianti blend, and instead adding Bordeaux varietals (namely, cabernet sauvignon and merlot). He was inspired by a little-known (at the time) cabernet sauvignon made by relatives called Sassicaia, which openly flouted the rules set down for traditional wines in Tuscany. The result was the first Super Tuscan, which he named Tignanello, after the vineyard where the grapes were grown. Other winemakers started experimenting with Super Tuscan blends of their own shortly thereafter.

Because these wines did not conform to strict DOC(G) classifications, they were initially labeled as vino da tavola, meaning "table wine," a term ordinarily reserved lower quality wines. The creation of the Indicazione Geografica Tipica category (technically indicating a level of quality between vino da tavola and DOCG) helped bring Super Tuscans "back into the fold" from a regulatory standpoint.