Le Marche another Italy
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Le Marche encompasses everything one would want from Italy. Incredible countryside from the Sibillini mountains to the glorious coastline, classic landscapes, castellated hilltops towns, culture, art, music, indoor, outdoor and watersports, wonderful wildlife, fun, delicious food and wines, quality fashions and footwear, museums, churches, culture, history – so much to do and see. Experience life to its fullest – experience Le Marche!
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Natural Organic Bread Making in the Sibillini Mountains

Natural Organic Bread Making in the Sibillini Mountains | Le Marche another Italy | Scoop.it
A morning demonstration of bread making using natural yeast in the Sibillini mountains.
The demonstration took place at a wonderful organic farm in the Sibillni mountains: Azienda Agricola Michele. They grow their own organic wheat, using old methods, then take their flour to a very old mill in Umbria that uses only river water to power the stone grinding wheels.
These mills are very rare today but this milling method retains all of the nutrients in the wheat so he thinks it’s worth the travel and hassle of bringing his wheat there.
This azienda only makes a wheat classified as #2, a light whole grain which has all of the germ and most of the bran left in. No white flour here. They grow 2 types of flour, a soft wheat for bread, (I forgot the name, but it’s an old variety) and an old variety of hard wheat to make pasta called “Senatore Cappelli”
The pasta is actually made in an old fashioned pasta making place near Tivoli, outside of Rome. Once again, the travel and hassle is worth it to Michele because they do such a superior job turning the flour into pasta.
Not all pasta is equal…how it’s made, which flour, which water, what temperatures, etc etc. make one pasta different from another. It’s an art form.
The bread is made with a natural yeast starter.
The azienda also makes and sells cookies, traditional cookies made with flour, olive oil and vino cotto. No rising agents, no salt, no butter. He mixes the dough, then lets it sit overnight, then in the morning the dough is shaped by hand into little wreaths. We all had a go at this. It’s harder than it looks because each little chunk of dough needs to be warmed in your hands by kneading it until it becomes pliable enough to shape. Good thing there were a lot of us.
Bread made with natural wheat flour and yeast tastes of wheat, has slight sour flavor (not at all like commercial sour doughs) and keeps at least a week, unlike modern Italian bakery bread that becomes hard and crumbly after less than a day. It’s easy to digest, is full of nutrients and best of all has that lovely greyish color, hard crust and springy texture of the breads I so fondly remember from my youth, when most of the bread in Italy was made from these unrefined flours and baked in wood ovens.
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Studiolo of Federico da Montefeltro - "The finest Italian Renaissance room in America"

Studiolo of Federico da Montefeltro  - "The finest Italian Renaissance room in America" | Le Marche another Italy | Scoop.it

Within the vast halls and imposing galleries of New York's Metropolitan Museum, well-hidden from the casual visitor, resides the finest Italian Renaissance room in America. The studiolo from Gubbio (e.c. Umbria), in Le Marche region of Italy and the former southern capital of the Montefeltro lands, is a marvel of the Renaissance woodworker's skill.
This studiolo, which tricks the eye with its seeming three-dimensionality of fictive cabinets, objects you could grab, and projecting benches, proved to be the final architectural triumph created for Federico da Montefeltro (1422–1482)
Richly decorated in intarsia work, it was a small bookroom and place of private contemplation, the setting for intimate discussions between the ruler and a privileged visitor. The construction of Federico's first studiolo, still in situ in the Urbino palace, began in 1476. From this time, the architect Francesco di Giorgio Martini was in charge of all of Federico's construction projects.
In dramatically expanding his father's modest Gubbio residence, Federico had extended it toward the local cathedral while leaving a cathedral plaza between the buildings. This constrained the eastern wall in an eccentric angle, and the studiolo, installed within the odd angle of this wall, thereby acquired its disproportionate, rhomboid shape.
Like its kin, the Gubbio studiolo is a marvel of inlaid woodwork, a triumph of the intarsiatore, the artisan in inlay. Many types of wood are required—spindle-wood, bog oak, cherry, walnut, pear and mulberry—including wood stained by fungus, producing a polychrome palette; these permit the full development of patterns and colors that inform the illusionistic results of three-dimensional depth, shadows and perspective. Two elaborately coffered ceilings, in gold and polychrome, crown the main section and the window alcove. The blank walls above the intarsia wainscoting once held allegories of the liberal arts and portraits of the Famous Men whom Federico emulated.
Created in the Florentine workshop of the brothers Giuliano and Benedetto da Maiano, the studiolo was installed in Gubbio from 1480 until 1483. The final panels, installed after Federico's death, reference Guidobaldo, but virtually all the panels reflect Federico's life, interests and achievements. The intarsia panels "read" clockwise from the left of the doorway. The prime viewing site is in the center, facing the long wall, with one's back to the window alcove; the Order of the Garter dominates the view. The viewer's ideal height, 5-foot-6, incidentally tells us how tall Federico was.
Federico's personal military, scientific and literary interests parade before us: fictive cabinets partially ajar display arms and armor, armorials, scientific devices, musical instruments and scores, documents and writing tools, caged songbirds and many, many books. Some items spill out of the cabinets or rest on equally fictive benches, while others recede into the shadows. The Latin inscriptional frieze extols the merits of approaching Learning with humility. Light comes from the principal window in the alcove and from two eyebrow windows high up in the same "eastern" wall. A patterned, tiled floor completes the ensemble. The setting mimics the shapes and orientation of the now-bare stone room in Gubbio.

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