Brunello di Montalcino: Understanding and Appreciating One by Kerin O'Keefe

By Kerin O'Keefe

For enthusiasts of Italian wine, few names command the extent of recognize accorded to Brunello di Montalcino. professional wine author Kerin O’Keefe has a deep own wisdom of Tuscany and its notable wine, and her account is either completely researched and readable. equipped as a guided travel via Montalcino’s geography, this crucial reference additionally is smart of Brunello’s complex heritage, from its quick upward push to the destructive and optimistic results of the 2008 grape-blending scandal dubbed “Brunellogate.” O’Keefe additionally presents in-depth profiles of approximately sixty prime manufacturers of Brunello.

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Indb 34 4/24/15 9:29:55 AM Mirandola and the Apologia 35 ity for the military defeat of the exiles, gave an elegant thrust at those who had hastily altered their judgment of him, and defended his departure to Constantinople from the fiery shower of accusations of vileness and cowardliness that had rained down on his shoulders. Thus was completed the second version of the Apologia, the one we all know and which earned the admiration of Leopardi. This should not, however, obscure a previously unknown historical fact: Lorenzino had dashed off a first version of his famous work—not very different from the definitive one—which was certainly ready before February 5, 1537.

155 Hence the defamatory painting he commissioned is to be seen more as an obsequious gesture toward the emperor than as homage to Cosimo. The same untrustworthy historiography has also misinterpreted the subsequent destruction of Lorenzino’s house, this also too hastily ascribed to a vendetta of the duke of Florence. ”156 In the meantime, while in Florence Vitelli vented his anger against Lorenzino, the tyrannicide himself continued his travels, following the itinerary he had put together in Mirandola, and reached Venice at the beginning of February.

This is a contrast that could have been easily fixed by eliminating a couple of sentences, transforming Lorenzino’s letter to Francesco into the abbreviated form that all of us have read until now. Perhaps also certain of the interested parties took an active role by destroying some exemplars in order to block, or limit, the circulation of the first version of the Apologia, if not, indeed, the circulation of any possible codices containing the second redaction of the work and the first, contradictory, version of the letter.

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