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italoamericano-digital-7-13-2023

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THURSDAY, JULY 13, 2023 www.italoamericano.org 10 L'Italo-Americano W e all know that pizza as we know it today, is a recent invention, but what if I told you that a recent archae- ological discovery in Pom- peii might shed some light on the existence of an ancient cousin of it? Yes, you heard it right. The ancient city, destroyed in 79 AD by the eruption of Mount Vesuvius continues to reveal its secrets, and this time, it's about food, something that connects us all. In a recent ex- cavation in the insula 10 of Pompeii's Regio IX, archaeol- ogists uncovered a curious and quite intriguing fresco. Alessandro Russo and Gabriel Zuchtriegel gave a detailed de- scription of it in their article published in the latest edition of the Scavi di Pompei E- Journal: it depicts what ap- pears to be a flatbread adorned with various toppings and, possibly, a spread similar to our pesto. Now, doesn't that sound familiar? In fact, could this be an ancient precursor to our modern pizza? Of course, it's not a pizza in the strictest sense: after all, tomatoes and mozzarella, the quintessential pizza ingredi- ents, were not yet part of the Italian culinary landscape. But the resemblance is striking, and the discovery sparked a lively discussion among schol- ars and food enthusiasts alike. The depicted flatbread, placed on a silver tray near a wine goblet, is garnished with pomegranate and possibly a date. Russo and Zuchtriegel say that the yellowish and ochre dots on the painting may suggest the use of spices as a seasoning or, perhaps, that of a popular Roman spread known as more- tumvin Latin. Moretum was a widespread dish in ancient Rome, typically made by crushing garlic, salt, cheese, and herbs together into a paste - sounds a bit like pesto, right? This image is part of a genre known as xenia (the word comes from the Ancient Greek word for hospitality), which was inspired by the "hospitality gifts" offered to guests according to a Greek tradition that dated back to the Hellenistic period. The xenia were still-life paint- ings that depicted the type of food and drink a host would offer to their guests; they were a symbol of generosity and wealth, and they often adorned the walls of dining rooms in Pompeii and other ancient cities. But the "hos- pitality gifts" offered to guests and depicted in the xenia were not just a mat- ter of etiquette, they were a reflection of the host's status and wealth. The more lavish the spread, the higher the host's standing in society. In this context, the flatbread in the fresco, adorned with fruits and possibly moretum, could be seen as an indication of the homeowner's prosper- ity and generosity. The tradition of xenia also had a deeper, symbolic mean- ing: it was a way of celebrat- ing the abundance of nature and the joy of sharing. Each item in these paintings, from the humble flatbread to the exotic pomegranate, speaks of the richness and diversity of the Mediterranean diet. But what does this have to do with pizza? Well, let's take a step back and consider the broader context. The fresco was found in a house that had an attached bakery, hinting at the importance of bread in the daily lives of Pompeii's in- habitants. The flatbread in it, much like the base of a pizza, served as a canvas for a vari- ety of toppings to create a simple yet nourishing meal. Russo and Zuchtriegel point out that the fresco echoes a passage from Vir- gil's Aeneid where the Tro- jan heroes, led by Aeneas, place fruits and other prod- ucts on sacrificial breads that act as "tables" of sorts. While they eat, they realize a prophecy has come true, a prophecy that said they were to find a new homeland when, "driven to unknown shores (and) all food ex- hausted," hunger would have led them to "devour even the tables." Gabriel Zuchtriegel, the di- rector of the Pompeii Archae- ological Park, underlines the connection between the fresco and Greek tradition: "We find in this fresco some themes of the Hellenistic tra- dition, then elaborated by au- thors of the Roman-imperial era such as Virgil, Martial, and Philostratus." He points out the contrast between the simplicity of the meal and the opulence of the silver vessels where it is placed, a contrast we can perhaps see also in our pizza, a very humble dish that ended up conquering the world. "Pompeii never ceases to amaze, it is a treasure chest that always reveals new jew- els," Gennaro Sangiuliano, Italy's Minister of Culture states. The archaeological site, buried under ash and pumice, still holds about a third of the ancient town un- explored, promising more ex- citing discoveries in the fu- ture. But the finding of this spe- cific fresco is not just an ar- chaeological achievement, it's a sign of the enduring power of food as a cultural symbol. It's a reminder of how food transcends time and space, connecting us with our ances- tors in the most intimate way. It tells us that food can tell stories, evoke memories and, perhaps most importantly, it never fails to bring people to- gether. So, the next time you bite into a slice of pizza, remem- ber you're not just enjoying a delicious meal: you're partak- ing in a culinary tradition that spans centuries, a tradition that, much like the city of Pompeii itself, continues to reveal its secrets and amazes us with its richness. LUCA SIGNORINI HERITAGE HISTORY IDENTITY TRADITIONS PEOPLE A Pompeii stone oven: did our ancestors bake pizza in it? (Photo: Johnny Ray/Dreamstime) What if the first pizza ... was made in Pompeii? A delicious pizza, as we know and love it today (Photo: Konstantin Malkov/ Dreamstime)

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