L'Italo-Americano

THURSDAY, MAY 2, 2024 www.italoamericano.org 20 L'Italo-Americano presented each of Gallina's families with a rooster pitch- er – la brocca di gallo. This symbol of good luck, prosperity, and protection retains the same meaning all these years later and is often presented as a housewarm- ing or wedding gift. The rooster motif is popu- lar on other forms of Italian m a i o l i c a , b u t t h e p i t c h e r r e m a i n s t h e m o s t i c o n i c . Orvieto boasts its red or g r e e n d e c o r a t e d r o o s t e r , w h i l e t h e p o p u l a r R a f - f a e l l e s c o d r a g o n m o t i f , thought to bless the seafar- ing merchants with his bel- lows of fair winds, might suit your tastes better. Regard- less, any style or pattern of these sassy roosters is eye- pleasing and practical and serves as a meaningful piece of authentic Italian art. Stylish rooster pitchers or the motif of a feisty cock as a devised to convince Giuliano to throw a party in the near- by village of Gallina where- u p o n P a z z i c l a n h i t m e n would sneak in and surprise the inebriated Giuliano and his guards. Plan in place, the a s s a s s i n p a r t y h e l d b a c k until the cover of dark before making a stealthy approach to the village. What they did- n't account for, however, was the field full of slumber- ing hens and roosters that began to cackle and crow wildly as the intruders stum- bled upon them. Awakened by the clamor, Giuliano's soldiers overtook the gate- c r a s h e r s a n d d i s p a t c h e d them quickly. Grateful for the village's f o w l s e c u r i t y s y s t e m , a n immediate order was given to craft ceramic pitchers in the shape of a crowing roost- er. Giuliano hosted a second party the next evening and c e n t e r p i e c e o n p o t t e r y across Italy are not alone in their "eggs-ceptional" repu- t a t i o n , h o w e v e r . A n o t h e r fowl tale emerged from the hilly greens between Flo- rence and Siena, which gave this unique region an equal- ly iconic rooster image, that of the Gallo Nero, now the proud emblem of the Chi- anti Classico Region of Tuscany. Folklore has it that t h e c o n s t a n t l y w a r r i n g medieval Republics of Flo- r e n c e a n d S i e n a f i n a l l y agreed upon a method to define their hotly contested borders. Two knights, one from each city-state, would d e p a r t a t s u n r i s e a s t h e rooster crowed; where they met in the middle would be the boundary. The Sienese selected a white rooster for the honor, while the Floren- tines opted for a black one. Thinking they would gain an a d v a n t a g e w i t h a h a p p y rooster, the Sienese pam- p e r e d t h e i r g a l l o b i a n c o with extra grain while it lux- u r i a t e d i n a w a r m , c o z y coop. The Florentines, how- e v e r , r e l e g a t e d t h e g a l l o nero to a tiny, cramped cage w i t h n o f o o d f o r s e v e r a l days. Cruel, yes, but here's the rest of the story. Freed from his prison before the sun rose on the day of the contest, gallo nero broke into frantic crowing as he bolted towards food. Alerted and at the ready, the Floren- tine knight jumped astride his horse and took off with a head-start advantage thanks t o t h e u n k i n d l y t r e a t e d rooster. The two knights met near Fonterutoli, a mere 1 2 k m f r o m t h e l a g g i n g S i e n e s e k n i g h t ' s s t a r t i n g point. The Siena-Florence border was set. Henceforth, the emblem of a black roost- er has represented Tuscany's Chianti region (Lega del Chianti), as well as being the recognized emblem since 1924 of Chianti Classico wine. Provider of good luck and protection, mascot recog- nized around the world, an I t a l i a n m o t i f a s i c o n i c a s rows of cypresses on green h i l l s – t h e s a u c y I t a l i a n r o o s t e r h a s a l o t t o c r o w about. were regaled for their intri- cate red, gold, and blue pat- terns. Place names such as Deruta and Orvieto soon became meccas of maiolica production and remain so to this day. But back to the rooster and his storied tale. It was m a n y y e a r s a g o i n t h e R e n a i s s a n c e R e p u b l i c o f Florence; the two most pow- erful families – the Medicis a n d t h e P a z z i s – w e r e fierce rivals. While the Pazzi family held great wealth and influence, the more benevo- lent Medici clan held even more, much to the chagrin of said Pazzis, who seemed to frequently act out by way of assassination plots. Giu- liano Medici loved a good party; it wasn't uncommon for him to host a festa for the villagers who worked the massive land holdings of the family. A sordid plot was A s s o o n a s y o u s e t f o o t i n a n Italian tratto- r i a , t h e r e ' s a g o o d c h a n c e your gaze will lock with a showy, colorful, eye-catching r o o s t e r … j u s t t h e w a y a n y rooster worth its salt would want. But this fellow is not looking for a fight; he's just one example of Italy's iconic a n d b e l o v e d c e r a m i c rooster pitchers gracing tables and shop shelves all over the Bel Paese. While these flamboyant rooster vessels seem as much a part of the folkloric Italian landscape as a glass of red wine, they haven't always been such an intrinsic part of Italian table culture. And like most traditional hallmarks, there's a good back-story to be told. Italy's love affair with pro- ducing fine-quality ceramics h a s b e e n a r o u n d f o r c e n - turies. What's known as Ital- ian Maiolica (or Majoli- ca) – handmade, exquisitely painted pottery – is coveted the world over and remains one of Italy's largest artisan industries. The term "maioli- ca" can be confusing, though, without a brief peek into its history! In the 13th century, Majorca, Spain, was the mid- point for trade between Italy and the Middle East. Beauti- ful ceramics featuring rich colors and designs created w i t h a s p e c i f i c t e c h n i q u e b e g a n a r r i v i n g s o m e t i m e during this era in the seaport of Pisa. As the wares spread inland, fascination grew, and I t a l i a n a r t i s a n s b e g a n t o mimic and improve on the craft. Eventually, this style of ceramic production resulted in one of the hottest com- m o d i t i e s o f t h e I t a l i a n Renaissance, and the adopt- ed descriptor of "maiolica" stuck. Think of Luca della R o b b i a ' s ( 1 4 0 0 – 1 4 8 2 ) pearly-glazed powder-blue and white sculptures with their jewel-toned olive and lemon borders, or perhaps M a e s t r o G i o r g i o Andreoli of Gubbio (1465 – 1553) whose ceramic works PAULA REYNOLDS The story behind Italy's ceramic rooster pitchers… and other fowl facts A colorful rooster pitcher, just like those you can find in so many Italian restaurants and homes (Photo: Steve Hull/Alamy Stock Photo) LIFE PEOPLE REVIEWS ADVICE TRADITIONS

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