As usual, we'll start with a surprise – with a white wine from Marche province by Garofoli; its name is Podium, and its classification is as follows: Verdicchio dei Castelli di Jesi DOC Classico Superiore. For someone Verdicchio is a non-expressive and non-attractive wine in awkward bottles that somehow resemble amphorae and are obviously meant for narrow-minded tourists… Why, it’s quite a well-deserved stereotype, almost as that of Chianti bottles in straw braiding. And if Chianti does not need being advocated, just because the world is well aware of its outstanding examples, the Verdicchio’s situation is another pair of shoes. We’ll take advantage of this and offer you a glass of glaring with joy golden wine produced of juicy, late-harvested berries, which were gathered in a particular vineyard, which possesses a potential fabulous in its depth, fullness and width, which does not prevent the wine from being interesting right now, being just two years old, to which one would add two-three years more, and then again five-seven more, and one would drink this nectar, knowing that there are two cases more waiting for their finest hour, because it would be great to taste Verdicchio Podium even later, say, in the year of…

If you have already believed that Verdicchio Podium is not a Verdicchio at all, but something different and special, you will not be surprised at the following narration of Tuscan winery Riecine and its two red wines, that we are presenting at the festival: Chianti Classico Riserva 2001 and Super-Tuscan La Gioia 2000. The point is that since it came to the world, Riecine winery has been owned/managed not only by non-Tuscan, but even complete Anglo-Saxons. In 1971, an Englishman John Dunkley and his wife Palmina (well, she is Italian, actually, but from Naples) managed to talk Badia a Coltibuono Abbey into selling one and a half hectare of land to them. The next steps were revival of the old villa and care for a tiny vineyard. As early as in 1975, the couple could treat their nearest and dearest to their Chianti Classico of ’73. At first, John Dunkley was assisted by Carlo Ferrini, at that time a young oenologist known to nobody (today – he is one of the key characters of the Italian wine-making). In 1992, the helm of well-respected-by-then Riecine was taken by a quite youthful graduate of the Geisenheim Wine Institute an Englishman (he is, in spite of the name) Sean O’Callaghan. In 1996, the winery was purchased by an American, Gary J. Baumann, and oenologist Sean O’Callaghan became a co-owner, and Gary Baumann’s financial possibilities allowed expanding the area of Riecine up to 12 hectares…

You might be a bit puzzled with such detailed narration of the Riecine’s history, but I'd like you to get surprised no less than me when learning that regardless of an openly Varangian owning/managing, the entirely local Sangiovese grape has always been entirely dominating in Riecine. In the 1980s, John Dunkley answered to one’s suggestions to engage in trendy French grape varieties in such a way: "When Baron Philippe de Rothschild [of Chateau Mouton-Rothschild in Bordeaux] plants Sangiovese, I'll switch to Cabernet Sauvignon". To all appearances, they are the Anglo-Saxons to observe traditions…  still, they are the Varangians to do in Rome as the Varangians do. I mean that we’ll have to do with ones of the most extractive Tuscan wines, to put in plain words, Riecine produces very concentrated, rich wines. For example, it should have been enough time for Chianti Classico Riserva of 2001 to calm down, to became paler, softer… but nothing of the kind, there is such force and power that one cannot right away suppose when this Chianti gets more suitable for a quiet talking and a delicate dish. As for the super-Tuscan La Gioia, still here one can find five per cent of Merlot. What for? To impart it some softness and woman’s charm? Don’t know. Not sure. La Gioia stands for “Joy” in English. Italians would call it: “la Gioia di Riecine”. Let’s translate it again back to English: “Joy of Riecine”. Have they added Merlot for greater joy?..

In conclusion, I won’t resist echoing the late John Dunkley, though I’ll have to oppose Gary Baumann’s compatriots, a pair of American critics, in whose opinion, La Gioia is produced quite in Bordeaux style. I find such statements rather far-fetched, and here’s the reason: no maturing in no barriques can possibly turn arrogance and hot temper of Sangiovese into satiety and hauteur of Cabernet Sauvignon!

Sergei Gusovsky

P.S. Do not forger about the new special menu by Costantino Passalacqua – most of this menu’s items are ready to measure their swords with our festival wines.

Let’s start with the surprise – with white wine from Trentino by Foradori; its name is Myrto. Properly speaking, an almost equal blend of Sauvignon and Incrocio Manzoni has already been pleasing some osteria’s guests for at least a couple of years. And the very surprise is that recently we had an opportunity to buy enough bottles of Myrto to afford a luxury of selling it by the glass. It’s a very joyful wine with expressive aromas of white European fruits and those of tropics, of Alpine flowers and spices. If someone is curious to know, Incrocio Manzoni is the result of Professor Manzoni’s experiments with Riesling Renano and Pinot Bianco. An Italian sort of an answer to Professor Muller from Turgau.

The main character of the festival though is the Nebbiolo grape. Though it may not be the Nebbiolo, but the old Nino Negri. Though it may not be Negri, but the terraces of Valtellina valley in the north of Lombardia, from where it’s a stone’s throw to Switzerland. After all, the main character of the festival may be Amarone as such… Well, when about a hundred years ago Nino Negri guessed of drying of the Chiavennasca grapes (a local clone of Nebbiolo), he was not likely to be thinking which of the wines was closer to him – Barolo or Amarone. Still, he managed to unite two oenological legends in one wine. Indeed, he did guess to take Barolo’s blood (well, or Barbaresco’s) and Amarone’s flesh! By the way, inhabitants of Valtellina valley cherish a sacred belief that grape drying was practiced in their place as early as in the 16th century and quote Leonardo da Vinci's texts in eager rivalry. The type of wine produced under such a method can be called either Sforzato, or Sfursat. Perhaps, nobody could suppose that a wine from the remote mountain area might be meant for a brilliant future. But in 1983, under Nino Negri label, came into the world a wine named “Sfursat 5 Stelle”. In ten years, the first desired “tre bicchieri” were obtained from Gambero Rosso, and the same Gambero Rosso called the vintage 2001 of 5 Stelle “the Italian red wine of the year”. Though at the festival will be presented the 5 Stelle of 2003, don’t you worry – it is destined to get those coveted “three goblets” from Gambero Rosso. Speaking of the name, “5 Stelle” means “5 Stars”. Silly is the name, magnificent is the wine.

Apart from Sfursat 5 Stelle we will offer two more Nino Negri’s wines (both are Valtellina Superiore DOCG, both are cru): Fracia and Sassorosso. The latter comes from Grumello sub-region, which wines were specially honoured by Herman Hesse. I’d like to believe that the must-read special menu by Costantino Passalacqua will not draw you away too much from recollections of all the works from The Glass Bead Game and Steppenwolf.

Sergei Gusovsky

However terrifying it might be sounding, but the last festival of Sicilian wines took place almost a year ago. Almost a year without Sicily! Horrible! You must have had enough time to forget of such grape as Nero d’Avola… Ok, we are here to remind, as well as to introduce you to the new varieties too. For this we will resort to the help of one of the most dynamic wineries of Sicily, and perhaps of the whole Italy – Calatrasi. What is dynamic about the company? Well, everything that its owners, the Micciche brothers (Maurizio and Giuseppe), are involved in. Calatrasi was established in 1980, and by now it managed to have developed into a powerful conglomerate. Apart from 300 hectares of the Sicilian vineyards, the company owns 240 hectares in Puglia and leases 200 hectares in Tunisia. Among the company staff are an Australian Sean Howe (agronomist), a Piedmontese (in the sense that a non-Sicilian) Piergiorgio Berta (oenologist), a German Christian Reintjes (the export director). It’s necessary to say that the influence of the foreign winemakers became clear as early as in the end of the 90s, when Calatrasi made up their mind to enter into an equal partnership with the wine giant Hardys, which resulted in the wine line D’Istinto. Then at once three Australians were taken on the staff (Brian Fletcher, Lisa Gilbee and Linda Domas). Though, what difference does it make, who and when worked for Calatrasi? After all, we are interested in the festival's programme, aren’t we?! And our programme is, firstly, wide, secondly - unique. It’s been long since there was such a kaleidoscope of grape varieties in the bounds of a single festival. Now, one after another:

Catarratto, dry white. Made of the grapes of the same name. A fabulously tasty wine. A true discovery, even a revelation! And for all that typically the poor Catarratto is not nicely welcomed, being reserved only to serve as the basis for well-known Marsala and many Italian vermouths… But still I insist: it is an unbelievably tasty wine. I am ready to bet that our supply will be exhausted until the end of the festival.

Vioca, dry white. An interesting blend of Chardonnay and Viognier. The poignancy, acidity and light bitterness of the latter are no doubt in their place in the combination with the hauteur and glamour of the former. Perhaps, it is exactly Vioca that can be a good match for the risotto with carry and prawns from our current special menu.

Nero d’Avola, dry red. An unexpectedly elegant wine. As a rule, from a fresh Nero d'Avola, especially the one fermented in new oak, we should expect both the power and the attack. Nothing of the kind! Beware, a cheerful combination of ripe fruits and light tannins will lull your vigilance! Do not overlook the fifth (the sixth? the seventh?) glass!

Nero d’Avola/ Shiraz, dry red. Well, now we do have that heavyweight. These very power and attack of Nero d'Avola supported by the poignancy, spice and light sweetness of Shiraz. I guess you would immediately recall the ubiquitous Super-Tuscans, whereas you would better think of pasta with mutton, or mutton meatballs with couscous, or risotto with truffles. All in all, a lot could be thought of with this wine of Sicily…

Selian, dry red. A travel to Tunisia! Why, I just could not refrain myself, I just could not help including such an exotic wine into the festival programme. An old Carignan vines. Remember the recent festival of Sardinian wines by Santadi? Though, the difference is more than considerable. In fact, we have to do with vineyards cultivated in Sahara (by the way, Selian is exactly the ancient name of the desert). A red soil, unfriendly sun, deadly wind… I would not be surprised to see employees-troglodytes at the winery. Nevertheless, Selian is a wine. And not a jam, confiture, or preserves of figs, as one might think.  However, it carries the smells of figs. And of cherries, and of plums, and of bilberries and mulberries…

Scirafi, dessert wine. Now a travel to a volcano island of Pantelleria. It is right on the way from Tunisia to Sicily. Zibibbo grapes (a local clone of Muscat) are forcedly cultivated in pits. Only that way the grapes could be protected from that very deadly wind sirocco. By the time of a harvest, there remain just a few berries. And the result: a joyous gamut of bright southern fruits. We will serve the wine cool, in a slightly weeping glass… Please, try it!

Sergei Gusovsky

“So, Sardinia… The island-paradise amidst the Mediterranean Sea was desirable for conquerors from time immemorial. The Phoenicians, Carthaginians, Etruscans, Greeks, Romans, Arabs, Genovese, Aragonese, Castilians, Piedmontese – that is by no means complete list of tribes and peoples, who managed to leave their traces there. As for the winemaking, it was practiced in Sardinia as far back as before Christ, and up to now proud and independent Sardinians have been producing wine of unique grape varieties, not hurrying to join “the international river” of Cabernet, Merlot and Chardonnay. What is more, the natives call Italy just “continent”, and the wine sold there they think to be exports. For the sake of justice, one should note a certain influence of Spanish grapes, which have taken root in Sardinia long ago and by now may be considered local. So, Garnacha turned into Cannonau, and Carinena –  into Carignano. Apart from it, red varieties Bovale Sardo and Monica, and also white Vermentino, Nuragus, Nasco and Torbato play an important role in the Sardinian winemaking.

During the last 10 years, the winemaking Pantheon of the island has been settled like this: Antinio Argiolas, Tenute Sella & Mosca and Cantina Sociale di Santadi. Year in and year out, these producers have been confirming their (and the whole Sardinia’s too) enviable reputation, demonstrating to the world wonderful wines remarkable for their originality and peculiar character”.

All you have just read was written in November 2003 for the osteria Pantagruel’s wine festival of Argiolas. In February 2005 we came up with the wine festival of Sella&Mosca. The present, the third in the row festival of Sardinian wines is dedicated to the Santadi co-operative. Its 250 co-owners work up 550 hectares of vineyards. A huge co-operative there is in Sardinia, indeed... One just might as well expect plenty of second-rate wine, might one not? Not at all, thank to the efforts of the president of the co-operative Antonello Pilloni and the winemaker Raffaele Cani, and to participation of the great Italian oenologist Giacomo Tachis, the name of Santadi has become famous far outside Sardinia. And, naturally, it is famous in the good sense of the word. The co-operative's ambassador of honour is, as a rule, Terre Brune - a red wine produced from Carignano grape. The region of Sulcis for Carignano means that much as the region of Gallura for white grapes called Vermentino. May classics and conservatives pardon my frivolity, but I couldn’t help recollecting Burgundy’s Grand Cru and Premiere Cru… especially since Terre Brune is matured for a year and a half in small barrels of French oak from Allier and Troncais. The wine’s bouquet really captivates by the consonance of fresh fruits, dark forest berries, spices, juniper, cocoa and tobacco. Even some minutes later after taking a sip, the intensity of gustatory senses does not decrease. A very fleshy, full-bodied wine with a great maturing potential.

But the festival of Santadi is not only a ritual dancing around the obelisk of Terre Brune. On the path to it, the acquaintance with two other versions of Carignano must turn useful. Grotta Rossa is a fresh (vintage of 2004), nice wine with dominating fruits and delicate liquorice tones. Carignano del Sulcis Riserva Rocca Rubia is a true bridge across which you will pass from Grotta Rossa to Terre Brune. No, not like this. Not a bridge. Who would have the dare to call Florentine Ponte Vecchio or the Venetian Rialto bridges?..

Well, and let’s say a few words about whites - after all most probably exactly they will be the starting point in your acquaintance with Santadi?! Two types of Vermentino. Both are easy, summer wines. By the way, by one-third Villa Solais consists of the old variety Nuragus, they say, it was brought to Sardinia by Phoenicians. As to Cala Silente, it is pure Vermentino. Fish carpaccio, light pasta, risotto with chanterelle – they all will be happy if introduced together with the most traditional white wine of Sardinia. Vermentino, Vermentino, Vermentino!!!

To be more exact, the festival is dedicated to Pinot Grigio from the province of Friuli and to Barbera from the province of Piedmont. In principle, these are creme de la creme, that is, second to none. Naturally both kinds of grapes are spread quite widely (and not only in Italy), but the most interesting wines are to be met exactly in Friuli and Piedmont. Say, if a well-known Tuscan winemaker promotes with joy his version of Pinot Grigio, it is not necessarily that you should feel the same joy while drinking the wine. Pinot Grigio is an extremely successful brand, under cover of which very different wines are being sold (a parallel with Chianti comes in handy here). Sometimes, success of a brand may lead to funny shifts. For example when in our osteria, among the wines that we sell by the glass, appears Pinot Grigio, the sales of other white wines are guaranteed to decrease. Be it Gavi, or be it Soave. The magic of the name, you know. So, we have thought out to demonstrate several serious Pinot Grigio for comparison - if these grapes are so favorite, let’s see (I mean, taste) their best embodiments. What one should expect from a good Pinot Grigio? Relatively low acidity, light creaminess and fruit-and-flower aromas with certain spice tinges. The colour of the wine may include shades of pure gold or copper; all is due to the fact that Pinot Grigio is the result of mutation of the great grape of Burgundy called Pinot Noir.

Now, more details about the three wines of our festival. All of them are represented by quite well-known winemakers. Pinot Grigio by Russiz Superiore will please you with exclusive harmony of fruits and acidity. This year’s Gambero Rosso guide named the enologist of Villa Russiz Mr. Gianni Menotti the best wine-maker of Italy; his Pinot Grigio is interesting, apart from fruit aromas, due to aroma of white bread toasts and to a fragile and very comfortable sweetness (don’t worry, the wine is dry, of course). And, at last, Ronco del Gelso (cru Sot Lis Rivis). I recommend tasting this Pinot Grigio in the latest turn – it underwent fermentation in new oak barrels, which imparted it an additional weight and significance.

Now a few words about the Barbera grapes. Its attractiveness lies in bright tempting fruits. Hand in hand with it come high acidity and low tannins. And this means that in a hot year one may expect a mere bomb, whereas a cool year will give an elegant wine able to refresh your receptors during a meal. Two samples are represented at the festival, both are of the hot vintage of 2003. The last autumn Paola Scavino happened to give me the advice: “If you have a chance to buy a Barbera of 2003, don’t hesitate. I cannot remember a better year for these grapes.” Of course, it is not that simple, and the heat itself does not guarantee a good wine, otherwise the whole South of Italy would revel in Barbera. For outstanding results there should be night coolness of Piedmont and a passion of its wine-makers. Our two Barbera come from the wineries called Sottimano and La Spinetta. In both cases, love and zeal are in abundance. For example, Andrea Sottimano is said that his vines are treated like Japanese bonsai, and many wine publications have decorated the owner of La Spinetta, Giorgio Rivetti, with a simple and extensive epithet “Superstar”. Don’t believe? Type in any Internet search engine: superstar Rivetti… And what nice occupation is waiting for wine-testers? To compare two cherry-violet-plum Barbera. Both are mighty, massive, meaningful and immense. Both have actively communicated with French oak. Both will be getting better and better with time. But who will wait when they already give us an ocean of impressions?

And I’m dreaming about Phoenicians who came to the lands of Puglia three-four thousand years ago, and they were not empty-handed, but they were bearing a vine, which ancient Greeks saw (few hundreds of years later) there in a great many and that was why they called that land Enotria, that is, “land of wine”; and I’m listening to a Phoenician talk, and the only word I can make out – “yain”… they seem to be talking about wine, and in my memory English “wine”, Latin “vinum” and Italian “vino” are mixing (by the way, Latin “Apulia” turned into “Puglia” in Italian), and, all of a sudden, start the Phoenicians dancing…it might be a tarantella, but it arose later…though tarantulas stung before as well, and it is them who the dance owes its name…or is it the Phoenician wine, purple as their garments…purple…only the Phoenicians knew the secret of that dye, they obtained it from some mysterious shells, later that colour became a key one in Ancient Rome, only triumphal commanders and censors were allowed wearing purple garments, and by his decree Nero reserved that right only for emperors…and I ask Morpheus to dream me the author of Historia naturalis, and I ask him, the eldest of the Plinii: “Tell me, Gaius Plinius Secundus, what sort of colour is it, imperial purple?”, and he answers ominously: “It is the colour of gore, almost black colour, quirite”…

And when awake, I’ll tell you something important: the wines of the coming festival are produced by Puglian winery Tormaresca. The winery is young, but prominent, but we won’t wonder at this, because Tormaresca is owned by the Antinori family, and this means that it's useless to waste time enumerating competitions and wine-tastings they won. Let’s drink the wines, all the five. Two whites, both are sunny Chardonnays: one is lighter, flowery, the other (PietraBianca) – more powerful, oilier. Purple red ones are three, and all of them as great as they come: Torcicoda (from Primitivo grapes), Bocca di Lupo (from Aglianico and a bit of Cabernet), and Masseria Maime (Negroamaro). And being half-awake I have no other organoleptical details. Tasty wines, they are.

Such impressive success is all the more unexpected if one thinks of the comparative "secondary importance" of Umbria as a wine region (just try to compete with Tuscan, Piedmont and others of that ilk). It is high time to make public the name of the main Lungarotti wine – Rubesco Riserva, Vigna Monticchio. We should give Giorgio Lungarotti’s acumen its due, he was one of the first in Italy to have realized the importance of producing of the "cru", that is, a wine made of grapes gathered from a particular vineyard. Vigna Monticchio is always aged for quite long before leaving the winery, for example, the vintage of 2000 has only recently come on sale. And what a noble wine it is! Deep ruby-garnet colour, multi-layered aromas and velvet texture tactfully supplementing each other. If you have not so far had a chance to try the reds of Umbria, believe me, you won’t have to spoil before you spin.

Two other wines of the festival are fresh and playful Giubilante (blending of equal portions of Sangiovese, Merlot and Syrah) and powerful and rich San Giorgio (Sangiovese, Cabernet Sauvignon and Canaiolo). Along with Vigna Monticchio we have an attractive triad, which I recommend to test in the following order: Giubilante; Rubesco Riserva, Vigna Monticchio; San Giorgio.

Now a few words about whites. Delicate and exquisite Torre di Giano, Vigna Il Pino (you are not mistaken, this wine is also of the "cru" category) is produced of local grapes Trebbiano and Grechetto. It could not have gone without using oak, which has imparted the wine all those typical vanilla shades. To the point, you have a good chance to compare Vigna Il Pino with another wine matured in oak, the matter concerns modern-international Chardonnay Aurente. While comparing, it would be great if you keep yourself from a "like-dislike" kind of opinion and from attempts to decide which wine is better. Why not to try to enjoy both of them?..

 Brunello – one of the greatest dry red wines of Italy, the pride of Toscana and the noblest of the nobles. The wine is produced only from Sangiovese Grosso grape cultivated within a strictly appointed territory in the neighbourhood of the town of Montalcino.

The history of Brunello began as long ago as 150 years and it was started by Ferruccio Biondi Santi who experimented with a local clone of Sangiovese in the 70-s of the 19th century. Since then demand for Brunello and its reputation has been continually growing. Today one may say for sure that Brunello is a creme de la creme of the Italian wine-making (along with Barolo and Barbaresco of Piedmont), this is exactly the wine in which Sangiovese shows its all-round potential: marvellous elegance coupled with exceptional power of aroma and concentration of taste. Brunello is never supposed to be a “light drink”. On the contrary, being young, this wine is most likely to show rather heavy tannins and considerable level of acidity. Though after 6-10 years its character is getting more balanced and along with spices, violets and wild cherry that are usual for a good Sangiovese, Brunello shows even more spices as well as chocolate, prunes, tar, leather…

At the festival we represent three producers, two of which embody the classical, old-time style of Brunello. Yes, I’m speaking of Biondi Santi and Costanti. Exactly Climente Santi and Tito Costanti were the authors of the first serious wines from Montalcino. Exactly their ideas were caught up by above-mentioned Feruccio Biondi Santi to make a good use of them. It is pleasant to realize that the wine-making technique of these wineries has undergone no drastic revisions and we can enjoy dealing with wine whose character was formed a century and half ago.Specialists will always treasure the memories of two unique vertical wine-tastings held in 1994 and 1995 by Franco Biondi Santi. There were a number of gurus participating in the tastings, including Michael Broadbent and Nicolas Belfrage, and both tastings confirmed that the vintages of 1888, 1891, 1925 and 1945 were still perfectly alive!

Speaking of the remaining producer, called Argiano,it is important to mention that the winemaking on its territories started as long ago as in the 16th century. Should we presume then that the soil itself carries considerable metaphysical power of tradition? Okay, today’s wines of Argiano could be considered of a moderately modern style. But the gracefulness and sensitivity with which the current owner, Countess Noemi Marone Cinzano applies the new wine-making technologies should definitely be praised. Indeed, Argiano’s Brunello is a bit more extractive, more pronounced, but it is in no way at the expense of the breed and the class of the wine.

You know, should anyone try to match that type of wine festival at a French restaurant I guess they would have been pouring the glasses of nothing less than, say, Romanee-Conti or Bordeaux 1er Grand Cru Classe. Don’t agree? When visiting Italy next time, ask if you may have a glass of Brunello from Biondi Santi…

Sergei Gusovsky

Commenting on the style of Vino Nobile on the whole, it's suitable to start from the geographic peculiarities of the city of Montepulciano: to the North we find a Chianti zone, and to the West – the famous Brunello one. Thus, in the character of the best examples of aristocratic (that is the translation) Vino Nobile both the elegance of Chianti and power of Brunello can be guessed. No wonder though, as the principal grape there (named Prugnolo Gentile) is nothing else but a local incarnation of well-known Sangiovese. Then, acidity and roughness, so important for classical Tuscan wines, are at full service to the families of Montepulciano. And each winemaker tries to cope with them in his own way.

For example, Ettore Falvo and Paolo Trappolini from Avignonesi in their amazingly beautiful wine Riserva Grandi Annate resort to the help of Cabernet Sauvignon, whereas Niccolo Corradi and Maurizio Castelli from Boscarelli add Merlot in still austere but very nicely balanced Nocio dei Boscarelli. As for the owner of Poliziano winery, signore Federico Carletti, I presume to suppose that he has to do his utmost to convince signore Carlo Ferrini (the mega-star of the modern wine-making of Toscana) to refrain from adding Merlot in the Poliziano's main wine – Vino Nobile Asinone. Well, sometimes they may go for a compromise anyway, but only with a dash of that French beauty. Wonderful firmness is also demonstrated by talented oenologist of company SAI Agricola (the owner of  Fattoria del Cerro) Mr. Lorenzo Landi: in his Riserva there are no outlanders, only dear to his heart Prugnolo Gentile, Colorino, Canaiolo Nero and Mammolo. Surely, none of the above-mentioned gentlemen gets by without French oak, though the matter concerns a delicate and sensible way of co-operation. Say, some barrels are of the second passage, some are of size larger than traditional 225-litre barriques and so on.

I'll be repeated to say that we demonstrate quite different wines, but at that, each of them belongs to the very important family of Tuscan wines. The family of Vino Nobile di Montepulciano.

It's high time to look into Falernian. With what purpose our quiz is continued: in what part of Italy were those, the best of the best, vineyards placed? I hope, you don't view Toscana or Piedmont as the variants? Indeed, you'll have to choose between Sicily and Campania! And if among the remarkable Sicilian vineyards were Mamertinian (Mamertinium) ones (those highly revered by Julius Caesar), in the Naples vicinity (that is, in Campania) began almost Burgundian luxuriance of terroirs. A special favour was gained by Caecubum, Falernum, Massicum and Surrentinum.

Now, you have all reasons to ask: what's the use of this excursion into prehistoric domain? And the use is that thank to efforts of a lawyer from Naples named Francesco Paolo Avallone, at the beginning of the 60-s of the last century, thorough investigations have been started aiming at reviving of the legendary Falernian wine. As far as being an assistant at the Roman Law department in the University of Naples, Francesco Avallone managed to have analyzed everything that had been written about Falernian by such authors as Pliny the Elder, Catullus, Columella… This amount of knowledge was used by an exploring expedition having discovered "whole" 20 vines, 15 of which referred to the dark grapes (10 to Aglianico and 5 to Piedirosso) and 5 – to the white grape called Falangina (Vinum Album Phalanginum) from what the precious Falernian had been produced!!!

Now Francesco Avallone’s son (Salvatore) and daughter (Maria Ida) are keeping on the business of their family winery called Villa Matilde. And we, in osteria Pantagruel, will try to undertake a "modest" mission of humanists and enlighteners, and introduce to the judgement of wine connoisseurs and history experts six wines by Villa Matilde:

• Falanghina – from the vineyards of the slopes of Roccamonfina volcano;
• Greco di Tufo – the other representative of the ancient world having come to Italy 2.5 thousand years ago from the ancient Greece;
• Falerno del Massico, Vigna Caracci – a rare Falernian gathered in tiny (less than 3 hectares) vineyard Caracci;
• Aglianico – the dominating variety of all red wines of Campania, including Taurasi. Some researches believe that Aglianico is the forefather of Syrah and Teroldego. At the heart of the gene pool are those ten vines found by Francesco Avallone;
• Falerno del Massico, Vigna Camarato – a very unusual red Falernian. Apart from Aglianico, its other organic part is Piedirosso (remember, other 5 vines discovered by Avallone's expedition). And, of course, precious vineyard called Camarato;
• Cecubo, can you recognize, just exactly Caecubian…at least, in Villa Matilde's vision. This is a blend of (try to read aloud) Abbouto, Primitivo and Piedirosso. A beautiful language, ah? And surely a beautiful wine.

Concluding, one cannot help citing an inviting verse from the Hendis bar in Pompeii: "Wine costs an as (the currency unit) here. Two – costs the best, pay four and you will be drinking Falernian ".

Sergei Gusovsky