The cult dishes of Spirito Di Vino include: chickpea crepes with codfish sauce veal meatballs with ginger clafoutis of artichokes and basil-scented ratatouille. The same passion, the same self-sacrifice, even after many years, drives Eliana Catalani in the restaurant business. It was a must during Christmas at the home of Professor Montalcini," the Roman chef explains, "next to the pork shin and the Calabrian cod prepared by two colleagues." Prosciutto, bacon, beef seasoned with celery, onions, thyme, bay leaves, salt and pepper and left to cook for 6 hours on two different days. I prepared a Crock pot roast, of course in a clay pot made by a craftsman from Petralli, in an ancient Etruscan oven dug into the tufa rock. Christmas was a fixed appointment for one of my cult dishes. "But – let's not forget– us assistants and collaborators also cooked for Professor Montalcini. And then I remember that she enjoyed very much organizing snack time for our children. "Her specialty? Chocolate sweets and coffee and zabaglione ice cream. And Eliana remembers Montalcini as a great cook. She began in the pediatric clinic at Policlinico Umberto I in collaboration with Rita Levi Montalcini, whom Eliana Catalani accompanied to Stockholm in 1986 to receive the Nobel Prize for Medicine. "A challenge that protracts itself in time, unlike in hospitality, is often subject to the opinions of experts, the publication of charts, and to detailed studies." Immediacy is rare in science and research," explains Eliana Catalani. "The objectives in the kitchen are immediate however, unlike in the scientific universe. The recipes should always be the same, including flavors, even though we don’t exclude variables." There has to be in every dish," adds Eliana Catalani, "a logical structure, especially when making sweets and desserts. Each product, in fact, must be observed, studied, as if in front of a microscope.
The reproducibility, repeatability, standardization of the products is of utmost importance. ”The laboratory organization is similar to the preparation of my dishes, made with what I define as an almost scientific criteria. "When I plan an experiment I need to know which tools, components, materials are available to me." "Cuisine has much in common with my work as a researcher and lab technician," she explains. She is joined by her husband Romeo (who artfully describes the menu) and her son Francesco, who oversees the cellar that houses over 800 wines. Eliana Catalani left an international career, after 37 years along side the Nobel Prize winner Rita Levi Montalcini, to pursue her vocation as a refined and sophisticated gourmet chef.Īt the helm of the restaurant Spirito Di Vino, on via Dei Genovesi, in the heart of ”old” Trastevere, Eliana Catalani began with a passion inherited from her father. From the laboratories of virology to the stovetops. Pliny notes a remark that Lysippos "used commonly to say" - that while other artists "made men as they really were, he made them as they appeared to be." Lysippus poses his subject in a true contrapposto, with an arm outstretched to create a sense of movement and interest from a range of viewing angles.įrom research to the kitchen. The sculpture, slightly larger than lifesize, is characteristic of the new canon of proportion pioneered by Lysippos, with a slightly smaller head (1:8 of the total height, rather than the 1:7 of Polykleitos) and longer and thinner limbs. Plaster casts of it soon found their way into national academy collections, and it is the standard version in textbooks.
The sculpture is commonly represented by the Pentelic marble copy in the Museo Pio-Clementino in Rome, discovered in 1849 when it was excavated in Trastevere (illustration, right). However an uproar in the theatre, "Give us back our Apoxyomenos", shamed the emperor into replacing it. Later, the emperor Tiberius became so enamored of the figure that he had it removed to his bedroom. The bronze original is lost, but it is known from its description in Pliny the Elder's Natural History, which relates that the Roman general Marcus Vipsanius Agrippa installed Lysippos's masterpiece in the Baths of Agrippa that he erected in Rome, around 20 BCE. The most renowned Apoxyomenos in Classical Antiquity was that of Lysippos of Sikyon, the court sculptor of Alexander the Great, made ca 330 BCE. Apoxyomenos (the "Scraper") is one of the conventional subjects of ancient Greek votive sculpture it represents an athlete, caught in the familiar act of scraping sweat and dust from his body with the small curved instrument that the Romans called a strigil.
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