Italian

Should there be, one day in your life, both a handful of still-warm-from-the-tree ripe figs and the juice-dripping flesh of a melon, go quickly to find leaves of mint, some good green olive oil, and the juice of a lemon to make this little salad. Use only flawless components and arrange them for someone wonderful with whom to rhapsodize over it. You might, then, need heady, appropriate conversation. You could choose to speak of Platina—one Bartolomeo Sacchi—the Vatican librarian and author, in 1475, of Platine de Honestate Voluptate. The work’s argument concerns the history of Roman cuisine and was the first officially published cookbook since those written during the Republic. Or you might want to chatter a bit about Cantalupo in Sabina—the Singing Wolf of the Sabines—once a papal garden property outside the Roman walls where a strain of tiny, orange-fleshed melons were cultivated, they, no doubt, being the precursors to those we call cantaloupe. Perhaps you might choose not to speak at all, thus distracting nothing from the sweet little figs.

First, know that you are about to bake the earth’s most delectable prune tart. If you wish to make it with fresh plums, you must sugar them, according to their own sweetness and your own need to taste sugar rather than fresh fruit. The same adjustment is necessary should you use fresh apricots or nectarines or peaches. Then simply proceed with the recipe.

Il Pane della Ninna Nanna (Lullaby Bread). Neither very sweet nor pizzalike in the flat, savory pie sort of way, this is a gold-fleshed, orange-perfumed cakelike bread that, if baked with care, will be tall and elegant, its crumb coarse yet light and full of the consoling scents of yeast and butter. Fabriziana is one of the several “middle” names of the Roman countess with whom I learned to bake the confection in the cavernous old kitchen of her villa that looks to the gardens of the Borghese. Ours were clandestine appointments, with our yeast and our candied orange peels and the tattered recipe book of her mother’s cook. You see, Fabriziana had never cooked or baked in her life, had never made anything from a pile of flour and a few crumbles of yeast. Forbidden in the kitchen as a girl, her adulthood has been always too fraught with obligations to permit interludes in front of the flames. But in the years we have been friends, she has always demonstrated more than a kind interest in my cooking, sitting once in a while, rapt as a fox, on an old wrought-iron chair in my kitchen as I dance about. And one day when I told her I was searching for a formula for an ancient, orange-perfumed Roman bread, she knew precisely where to find the recipe. Trailing off in some Proustian dream, she said she hadn’t thought of the bread in too many years, it having been her favorite sweet at Christmas and Easter. Once she even requested that it—rather than some grand, creamy torta—be her birthday cake. She told of poaching slices of it from a silver tray during parties and receptions, stuffing them deep into the pockets of her silk dresses to eat later in bed, after her sister was safely asleep, so she might share them only with her puppy. So it was that we decided to make the bread together. Wishing to avoid the chiding of her family and, most of all, her cook, we chose to do the deed on mornings when the house would be safe from them. It was wonderful to see Fabriziana at play. Flour and butter were forced under her long, mother-of-pearled nails, and her blond-streaked coif, mounted to resist tempests, soon fell into girlish ringlets over her noble brow. With a few mornings’ worth of trial, we baked Fabriziana’s lullaby bread, the bread of her memories. And once, on a birthday of mine, the countess came fairly racing through my doorway proffering a curiously wrapped parcel that gave up the telltale perfumes of our bread. The countess had learned to bake indeed.

Abbacchio, a long-ago Roman term for a newborn lamb, is the prescripted dish of Easter. And older than history is the innocent, rousing scent of it roasting with branches of wild rosemary, curling out from the kitchen doors of the trattorie in the Trastevere on Sundays in the spring, beckoning one to table together.

Here is a simple presentation of the components of Rome’s saltimbocca embroidered with spring peas and tomatoes.

From the somber mountain village of Amatrice in the Abruzzo—one of the areas from which have emigrated, to other regions of Italy and throughout the world, many cooks and chefs—was born the famous pasta all’ Amatriciana, prepared faithfully by the pilgrim cooks wherever they go. One evening in Rome, an Abruzzese cook asked if he might offer a different pasta to us, the one most nostalgic for him. What he presented was, indeed, pasta all’ Amatriciana, simply made without tomatoes. In dialect, its name contracts into gricia.

Twenty kilometers from our home sits the bustling Latian village of Acquapendente. There we find our trustworthy pork butcher, our panificio di famiglia (family bakery), and the only shop between Rome and Florence where Erich can find the music of Astor Piazzola. Hence, Acquapendente is a sort of vortex for us. It is on early Friday mornings when it beckons us most plaintively, the day the market—the mercato—comes to town. It is a good-enough market at any time of the year, but steeled in late January fogs is how we like it best. From our home in San Casciano dei Bagni, higher up by four hundred feet and, in winter, sitting nearly always in crystal air, we descend the narrow, sloping road past the sheepfolds, past the ostrich farm, away from the new, gold sun, fresh from its rise, and into the thick, purply mists of the rough little place. Wrapped in our woolens we stroll the abundant tables of green-black Savoy cabbages and violet broccoli, baskets of potatoes and turnips unwashed of their Latian earth. Here and there are lit small, consoling charcoal fires in funny little tripod burners over which the farmers thaw their ungloved hands. Just outside the fray are the humbler posts, those that beg no rent, that are had for their predawn staking. The farmers, sober in the unpacified cold, unwrap their often meager stuffs—a basket of chestnuts, one of cauliflower, and once, a man, standing beside his little pile of pumpkins, held a brace of pheasant, still dripping their blood on the frozen ground, his booty from a predawn hunt—offering them at far lower prices than those asked by their more prosperous colleagues inside the village. It was there, too, at the Friday mercato in Acquapendente that a woman from Bolsena, who was selling just-ground chestnut flour, sat on the edge of her table and wrote out this most wonderful recipe. The smokiness of the chestnut flour enlarges upon the forest scents of the mushrooms, the whole combining into a sensual sort of rusticity. If chestnut flour is not to be found at your specialty store, substitute whole wheat or buckwheat flour and mix 3 ounces of canned, unsweetened chestnut puree with the mascarpone.

These are Rome’s other artichokes. Softened rather than crisped in their oil bath, they are of an extravagant goodness.

Not so many springtimes ago, I knew it was a Roman birthday for which I yearned, convinced that the salve of the place would soften the edges of a long sadness. Arriving crumpled and unslept on that morning, I slid my two dusty bags under the purple flounce of the bed in my genteelly shabby room at the Adriano and bolted off to the Campo de’ Fiori. I needed lilacs. I explained to the flower merchant in the market my desire to bring più allegria—more cheerfulness—to my little hotel room, that I was preparing for a sort of birthday party. He amplified the girth of the sweet-smelling sheaves I’d chosen and dispatched his helper to carry the towering bouquets through the twisting streets back to the Adriano. His field of vision completely contained inside thickets of blossoms, the porter left me to play front guard, to scream commands and admonitions back at him, staging a droll farce that could happen only in Rome. Safe inside the hotel with the lilacs, I purloined a large metal wastebasket from the reception hall, tied up its middle in a length of green silk, and installed the great, weeping blooms at the foot of my bed. I raced back to the market to fill two baskets with tiny, blushed velvet peaches still on their branches and hung them from wall sconces and draped them over mirrors and bedposts and on the roof of the dour, mustard-colored armoire. I collected breads from the forno (bakery) in Via della Scrofa, not so much to eat but for the comfort of their forms and their scents. I unwrapped the Georgian candlesticks I always carry with me from their cradle in my old taffeta skirt, threw open the shutters to beams of a rosy moon, and the birthday room was ready. I’d collected a beautiful supper at Volpetti: a brace of quail, each reposing on a cushion of roasted bread—depository for their rosemary juices—olives crushed into a paste with capers and Cognac, a stew of baby artichokes, new peas, and fava beans scented with wild mint and called, mysteriously, la vignarola—the winemaker’s wife—and a small, white, quivering cylinder of sweet robiola (fresh handmade cow’s milk cheese). I laid the feast on the dressing table, serving myself only bits of it at first. But little explosions of goodness insinuated themselves, and the quiet supper urged me into the goodness of the moment. Hungers found, strategies resewn. Happy birthday. During the time I lived at the Adriano, I went each morning to the market in Campo de’ Fiori, stopping to chat with my flower man, he introducing me to the lady with the slenderest, most delicate asparagus, which I devoured raw, like some earth-scented bonbon, and the one with the baby blood-red strawberries collected in the forests of Lake Nemi up in the Alban Hills. A ration of these beauties I vanquished each afternoon between sips of icy Frascati from my changing caffè posts along the campo. With those weeks as initiation, I might have stayed the rest of my life in the lap of that neighborhood, that village within Rome so contained and complete unto itself, and surely would never have known a single lonely day. More than she is a city, Rome is a string of small provinces, fastened one to the other by old fates.

It was nearly eleven on Saturday and Fernando was standing under the open roof in the rain, tender, silvered glissades of it plashing quietly, as it has for two thousand years, onto the black and white marble of the temple floor. He, not minding, stood directly in the puddle, its depths caressing the tops of his shoes, looking up at the sky like a child in wonder, the water settling in fine mists on his cheeks and eyelids. He turned fifty that morning in the Pantheon. His spiritual birthday thus celebrated, he pronounced that his carnal festival was to be solemnized in not less than six of his preferred ostarie/trattorie/ristoranti. Fernando wanted to eat artichokes. More, he wanted an artichoke crawl—a critical journey up and down the vicoli (narrow streets), an earnest search for great, golden-green, crisped Roman roses—as many of them as he might vanquish in a day and its evening in a half dozen genuine houses—we were in search of the one perfect carciofo alla giudia. Ten years ago, I might have propelled him into the arms of the trattoria da Giggetto, when I was still convinced of the authenticity of its cooking. Sidled up as it is to the edge of the Portico d’Ottavia, perhaps it was only the taberna’s majestic old neighbor that wooed me. Fernando had his own ideas. At midday, we made quick aperitivi e antipasti visits to Arancio d’Oro in Via Monte d’Oro and La Campana in Vicolo della Campana, taking only one or two artichokes and a glass of white wine. We would settle in at Agata e Romeo in Via Carlo Alberto for a proper lunch that would start with another of the little beauties. The evening’s gallop would open at Tram Tram in Via dei Reti before a stint at Il Dito e la Luna in Via dei Sabelli, where we would crunch on more fried thistles. Our palates veneered in stainless steel, our bellies convulsing, plumped, we brushed sea salt and crisp freckles from our lips and our chests and stepped at last inside the dimmed sanctum of Piperno in Via Monte dei Cenci. Murmuring something to our waiter about not having much appetite, he assured us that he would carry to us only those plates that could titillate a dead man. He started us with a salad of puntarelle—a thick-bladed wild grass collected in the Alban hills— glossed in sauce of anchovies. Then came the misty comfort of stracciatella, chicken broth scribbled with a paste of egg and pecorino. Expert by now, able to whiff their very presence from twenty meters, we knew then the artichokes were only moments away. He set them down, clucking over their beauty, assuring us their salty vaporousness would coax our hunger. He was right. We continued with la coda alla vaccinara—oxtail stew—abbacchio—roast suckling lamb—a few crumbles of a hard, piquant pecorino pepato—peppered pecorino—a soft brown pear, and sealed it all with a great fluff of roasted chestnut mousse that we ate with small silver spoons.

Baccalà is of ancient Roman favor. The methodology of its preservation was one cultivated during their campaigns in the north, where they learned to embalm a catch of the great, fat cod under unpounded crystals of sea salt, reviving it for meals both festive and humble. Stoccafisso differs from baccalà in its fundamental cure, as it, having no encounter with salt, is simply hung out to dry in the winds moaning up from the North Sea. In either case, once plumped in its renaissance bath of cold water, the cod flesh is tender and, when cooked gently, its flesh takes on an almost creamy texture. The yield of a correctly reconstituted and properly cooked fish, well conserved in either way, is quite the same. This is an unexpectedly delicate dish, the raisins foiling any saltiness that might linger in the fish, while the Cognac softens the acidity of the tomatoes.

For nearly a century, the mattatoio, the slaughterhouse, of Rome was fixed, south of the city’s center and flanked by Porta San Paolo and the Piramide di Caio Cestio, in the quarter of Testaccio—a hillock formed by the dross of terra-cotta amphorae that held olive oil and other comestibles imported into the city. Of an eloquent, uncompromised Roman character, the quarter grew up simple little houses in whose kitchens were cooked the humble remains of the butchers’ art, transforming the offal into i piatti fortissimi—the strongest plates—to serve to the workingmen for lunch. Il mattatoio has long since been relocated, but the Testaccio still practices the most orthodox Roman gastronomic traditions, building dishes such as nervetti in insalata, a salad of poached calves’ feet, coda alla vaccinara, (see page 4), pajata, the grilled or braised intestines of a calf or an ox, and trippa. As prosaic as are the formulas for these dishes, the manner in which they are presented is also prescripted. First, if the proprietor in any one of the neighborhood’s tabernae—Romans swing easily in and out of Latin, as in this usage for taverns—doesn’t approve one’s general look or demeanor, he will point, steely, to a little sign marked COMPLETO, reserved, that is fastened, permanently, handily for such occasions, to a rope of salame suspended from the rafters. If he does deem to seat one, neither he nor his colleagues will be charmed if one speaks Italian. It is only the dialect of Rome that is shouted in the Testaccio. It seems best to communicate, through eye-rolling and hand-flailing, that one wishes all decisions to be made by the house, that one is armed with magnificent appetite, and that one shall remain serene and unrepining at whatever part of whatever animal may be set before one. Our place of choice to be fed like a Roman is called Da Felice, an unsigned post in Via Mastro Giorgio. We go always of a Saturday so we can always eat tripe. Soaked in water and vinegar, urging the nastiness from its pores, the tripe is poached before it is sautéed in a battuto (the fundamental vegetable, herb, and fat flavoring for a sauce) of pancetta, olive oil, and garlic, then braised overnight on the quietest flame in tomato, white wine, and wild mint. A Saturday ritual in the Testaccio, as well as in every genuine osteria and trattoria in Rome, la trippa is served in deep bowls, under a dusting of pecorino, with chunks of rough bread and a jug of Frascati. Food of the poor is this tripe, flotsam conjured into a flavorful, cockle-warming stew, one that a sage Roman wouldn’t trade for a big, bloody beefsteak, not even one flounced in truffles.

Roman ox butchers, known as i vaccinari, have been attributed authorship for this most characteristic dish of la cucina povera romana. Honored as savvy, inventive cooks, the butchers were and are wont to pot up the most particularly toothsome nuggets plundered from the great beasts. The tail of an ox, though it surrenders inconsiderable flesh, is of the tenderest texture and most delicate savor to be gleaned from the whole hulk of him.

A patently rustic treatment of the prawns that presses us to a dramatic sort of dance in front of the flame as we toss the fat, handsome things about in the hot oil, their briny perfumes dissolving up in great vapors around our heads. A bottle of fine Cognac perched on the kitchen shelf seems an occurrence as common in Rome as is the one filled with the simple white wine from the hills just outside its gates. Here, the bottle is used to a fine end, scenting the seething, sputtering flesh of the prawns inside their bronzed, vermilion shells.

My ongoing quest to find new ways to eat butter, sugar, and nuts together resulted in this happy discovery: sbrisolona. A regional specialty of Mantova, Italy, this cookie gets its name from its crumbly texture. The dough is worked together by hand into a dry, coarse meal, pressed into a cake pan, and baked until it’s very firm. I follow the Italian tradition and break the giant cookie into rough, jagged pieces. Like biscotti, its dense, nutty quality makes it the perfect vehicle for scooping up zabaglione. This old-fashioned Italian custard is traditionally made by whisking egg yolks, sugar, and Marsala wine over simmering water. In this festive version I’ve substituted slightly sweet sparkling Moscato d’Asti for the Marsala.

In so many American childhoods, cherry pie is a gloppy, cloying, Day-Glo affair. As a chef, I’m expected to disdain such things now, and, officially, I do. But I’ve always loved cherries. This Italian cherry and almond tart is everything a bad cherry pie is not: flaky, buttery, and sophisticated, with a filling the color of darkest rubies. But if someday, when cherries are long out of season, you happen to see in a corner booth at DuPar’s Coffee Shop someone who looks like me, wolfing down a slice of all-American diner pie, wearing dark sunglasses and a stain that looks suspiciously like Red Dye #40, well, keep it to yourself. Even chefs have fond memories of their misguided youth.