 Mill at Fabbriche di Vallico The mulino is a building from the past that is becoming part of the future of the Garfagnana. Chestnut flour used to be so important in the local diet that there were seven water mills in the tiny valley below our village and many hundreds more throughout the Garfagnana. Today there is barely a trace of them left. However, with diagnoses of coeliac disease and wheat allergies on the increase, chestnut flour, completely free of gluten, is enjoying a comeback, and that from the Garfagnana has attained the exalted status of DOP (Protected Designation of Origin) from the EU. This may not seem very momentous, but it has raised the prestige and price of a homely commodity, making it more attractive and worthwhile to produce. To meet increased demand, the early 17th-century mill at Fabbriche di Vallico, was recently restored to its former glory, and several others have also been refurbished. All the water mills I’ve seen in this area north of Lucca are driven by a horizontal wheel, mounted in a beautiful arched stone chamber directly below the grindstone. At the outer ends of the wheel spokes are shallow metal cups, which used to be made of chestnut wood. Water shoots out of a narrow channel at the back of the chamber, striking the cups and turning the wheel which in turn drives the huge circular grindstone. The lower stone is fixed, while the upper stone spins and can be raised or lowered to change how fine or coarse the flour will be. The type of stone from which the grindstone is made and how it’s dressed also determines the texture of the flour.  Each millstone has its own paddle wheel dipping into the millstream below it. We drive along the beautiful Turrite River valley to Fabbriche, where Domenico reverses the car up to the door of the mill. We enter onto the welcoming warm upper floor of the mill. The miller keeps two wood-fired stoves burning to maintain a low humidity and prevent the chestnuts from re-hydrating and squashing into a paste when they’re ground. By now Marco has arrived too, and he and Domenico carry in the sacks on their shoulders and pile them onto a large set of scales with weights that the miller slides along the balance arms. Each sack weighs about 40 kg (88 lb).  Interior of mill  Marco piles our sacks on the scales. The miller charges in kind for his services by taking a small percentage of the flour to sell directly from the mill. [2018–More recently I've been told this is not the case, and that people pay for the miller's services. I don't know whether the law has changed or whether my Italian was too poor in 2012 to understand correctly.]  The miller records the weight of our chestnuts and gives Domenico a receipt. Since the mill grinds only chestnuts to avoid gluten contamination from wheat and other cereals, it’s only open from the end of November when the chestnuts are ready for milling until all of this year’s crop is ground. Now that I’m writing this, I wonder whether he’ll finish by Christmas, but I know that if you go in spring or summer, it’s shut up tight. Even though four grindstones work from morning to night every day except Sunday, there’s a big backlog of chestnuts waiting to be ground. I feel proud of our white hemp sacks with their blue embroidered initials which are much handsomer than everyone else’s utilitarian plastic sacks.  There are sacks of chestnuts piled up everywhere. I can’t wait to go downstairs where the flour is being ground, but before descending the steep, narrow wooden steps, the miller shows me the chestnut-wood boxes, one per grindstone, which are actually chutes into which he pours the chestnuts, and through which they descend into the hoppers that feed the chestnuts unbelievably slowly, only one or two at a time, into the hole in the centre of the upper grindstone. Downstairs each pair of grindstones is housed in its own wooden (chestnut, of course) cupboard, with doors to keep the flour from flying out and getting into the miller's lungs.  Handsome chestnut wood chute The miller goes to the stones at the far end which he had been setting up with a new batch of chestnuts when we arrived. He pulls a lever to start the flow of water, which we can’t see from here, starts the hopper vibrating, turns a sort of steering wheel to adjust the height of the upper stone and reaches over to feel the fineness of the flour as it sprays out from between the two stones. It’s not right. He turns the wheel a little more and feels the flour again. After a couple more tests, he’s satisfied that it’s exactly right and closes the doors to the cupboard.  The skill of the miller is in getting the fineness of the flour exactly right. Chestnut flour must be very fine. I notice a sign on the wall next to the cupboard on which ‘biologico’ (organic) is written. I shout over the roar of the four whirling stones: ‘Why is only this one organic? Aren’t all chestnuts organic?’ Both Domenico and the miller rub their thumbs and forefingers together in the Italian sign for money. The miller explains: ‘This one is for producers who have paid for the organic certification so that they can sell their flour at a higher price, but yes, I’m right that all chestnuts are organic. No one sprays or fertilises chestnut trees.’ He leads us to a plastic sack of flour from the certified chestnuts and tells us to take a pinch and taste it. Not bad. Then he takes us to a sack of flour ground from uncertified chestnuts from Coreglia. We sample it. The sweet chestnut-y flavour explodes in my mouth. The implication is that people who go through the bureaucracy and cost of getting organic certification are more interested in money than in the flavour of the flour. They won’t have lavished enough care on the drying, cleaning and sorting processes as we at Casabasciana did. I think to myself that there are probably some who care passionately about the flavour and some who don’t in both camps. You have to taste the flour before buying and when you find one you like, stick to that producer.
The jury is still out on our own flour. When I left for England a week later, it wasn’t yet back from the mill. As soon as I return next week, I’m going straight to Ebe’s to try it.
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By now the chestnuts of Casabasciana had had two months of care lavished upon them. What with collecting them, drying them, shelling them and sorting and cleaning them, they should have been feeling properly mollycoddled. Now was the big moment, the first dry sunny day for a week, when they were to be taken to the mulino, the water mill, to be ground into flour. There were 12 sacks of chestnuts ready for the first trip, so we have to go in two cars.  Domenico drives the sacks of clean chestnuts through the village piazza from the ex-school.  Marco loads sacks of chestnuts into his car. Marco goes ahead to stop for petrol on the way, and I accompany Domenico in his Suzuki 4×4. The journey is as interesting as the destination. He describes something of his life when he was a boy growing up at Castelluccio in the ‘50s and talks about the evolution of the landscape and movements of people in those days. When he was 10, he went to school every morning in Casabasciana, a 45-minute walk along a woodland path, and returned home again at lunch time.  Casabasciana as Domenico might have seen it on the path from Castelluccio. Children didn’t play in those days. In the afternoon he went out on the mountain with the sheep. They had 15, as did most families, and his mother Olga made pecorino cheese and ricotta from their milk. What with chickens, rabbits and a pig, chestnuts, wheat and vegetables, plus a couple of horses for transporting goods, they were virtually self-sufficient. I ask whether they felt life was hard. He replies, ‘We didn’t know anything else. We were happier than people are now. Now everyone needs a car, a television, all those things that require money. It was simpler then.’
 Domenico at the top of the table and his mother Olga bottom left providing quality control, with Franca and Corinna in between Franca gets to the community hall at 7.30 every morning to sort chestnuts. When I arrive around 9.00 there are already four family members around the table. Now that I’ve discovered the therapeutic value of talking, I decide to find out more about them. There’s Olga who is 85 or 86. I think of her as Domenico’s mother, rather than the other way round, because she lives in her son’s house, opposite mine, with him and his wife Ebe. Olga walks with a stick, which seems totally unnecessary to me. I met her once coming along the woodland path from Castelluccio, the farmstead where she raised her family, which is a brisk 45-minute walk from our village. Her stamina at the chestnut table is unbeatable, and her speed and accuracy of sorting puts the rest of us to shame. I reckon she could do all 24 sacks of them as quickly by herself and she just tolerates us to make us feel needed. I ask her whether anyone is living at Castelluccio now. No, no longer, but they used to cultivate all the land there. She doesn’t sound sad or nostalgic. Times change, and it wouldn’t be practical to live there now.  Nostalgia there must be on the part of Domenico who goes to Castelluccio every afternoon to keep the house and land in shape. Then I ask about a couple of houses farther out, one of which has recently been restored. Do I mean Lupinaia? Well, I don’t know. I didn’t know every house had a name.  Lupinaia means the place where lupins grow. Lupins used to be cultivated for their seeds which, after soaking to remove their bitterness, were eaten as a snack like peanuts. Someone asks whether I discovered Surignano. The house with the beautiful Roman arches? Some English people bought it a few years ago, but never restored it. They think they bought it on the internet and when they arrived and saw the state it’s in, abandoned in the midst of the chestnut wood, they lost heart.  Surignano once housed two families and was surrounded by cultivated land and pastures. The others now start throwing names into the ring and try to describe to me where they are — houses, churches, water mills, streams. The conversation becomes animated. Names are repeated, rolled around in the mouth to recapture the flavour of them. Each place is like a family member with its own personality. The landscape is a patchwork of names. Nowhere is omitted, nowhere is nameless wilderness.  The names and one sign-painter's images of what they meant |
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