archaeobotany and food history

charred cereal grains

With monumental buildings giving way to the dusty dominance of time, would you believe that the seed of a salad can survive centuries?

Traces of the past appear in many shapes. To reconstruct the realities of long-gone people and societies, historians and archaeologists usually seek to collect and contextualise written sources and objects. Yet, natural and man-made forces frequently eradicate even the most sturdy, massive structures. However, between all the dirt and crumbled stones, a grape pit or cereal grain may still lay intact, providing a window into the culinary traditions of a different time and place.

The archaeological study of old plant remains is called archaeobotany. Archaeobotanists analyse fruit and vegetable pits and seeds to better understand past societies’ cultural, culinary, and economic habits. Food consumption, after all, penetrates every layer of society. Every single person has to eat. Applying archaeobotany, therefore, can illuminate spaces sometimes overlooked—the small but busy storage room instead of the grand dinner table, the rubbish deposit instead of the foyer. Through an archaeobotanical analysis of food, according to Charlotte Molloy, one can generate “a more intimate, and truthful insight into how people were living.”

archaeobotany can give you so much about everyday life and ordinary life.

Charlotte Molloy is a practising archaeobotanist. We met at the University of Oxford, where we both completed our master’s degrees. Charlotte’s interest in classical studies and old empires began at the end of high school. She profoundly enjoyed reading Homer’s Odyssey and following Odysseus’ travels. Encouraged by her tutor, she decided to study Classics at Royal Holloway University in London. In her first year, Charlotte learned about ancient Greek and Roman history but was hesitant to explore archaeology: “I knew that Indiana Jones probably wasn’t a realistic representation of archaeology. I thought it was people with long beards and crazy jumpers.” She also felt that the profession wasn’t very welcoming for young women. She admits, “I couldn’t have been more wrong.”

When Charlotte encountered archaeobotany, she was fascinated by the possibility of investigating everyday culture through ancient diet. In her second year at university, Charlotte signed up for a course on Roman Britain, which included a session on food history with archaeologist Dr Lisa Lodwick. This session was eye-opening. Charlotte learned how much the food people ate—and the way that they ate it—could tell you about an individual or a culture. Employing archaeobotany, one could explore habits as small as a daily meal and spaces that are “not linked to these grand monumental gestures”, usually shaped by elite classes. Archaeobotany, she realised, has the potential to create a wider, more inclusive path into the past.

The summer she completed her undergraduate degree, Charlotte joined archaeologist Dr Erica Rowan on the Sardis excavation site in Turkey. For four weeks, Charlotte worked as Dr Rowen’s assistant. Under the burning sun, they studied plant samples from the early bronze age to the Byzantine period, spanning almost 3000 years of history: “With these samples, you can track food through millennia.” Charlotte came back to the Sardis excavation site the following summer. This time she could study plant remains from the late antique to late Roman period, from the 4th to the 6th century CE. Working in the field solidified Charlotte’s excitement for the profession—her path as an archaeobotanist was set.

charlotte in action

how does archaeobotany work? how do archaeobotanists find, contextualise, and interpret tiny plant remains?

Plants can find their way into the archaeological record by four different ways. The most common way is through charring; after contact with fire, a carbon fossil of the hard parts of the plant—seeds and grains—are left behind. Imagine an accidental domestic fire or a natural disaster—these kinds of events often create charred plant remains. Plant remains can also be preserved by mineralisation; when they come into contact with substances like phosphate or calcium. To decay, plant matter needs moisture and oxygen. Take one of those away and it does not decay. Therefore, if a plant is left in an extremely arid environment, it can be preserved through desiccation. There exist astonishing examples of this process from the Amheida excavations in Egypt, where entire baskets full of dates have been found buried in the sands since the Roman period! At the other end of the scale, if the plant matter stays submerged in a waterlogged environment, it can also remain very well preserved. For instance, two iron age wells excavated in Silchester in England contained the waterlogged remains of the oldest coriander found in the country! When preserved through charring, mineralisation, desiccation, and waterlogging, it is astonishing how plants and their remains can survive for centuries.

charlotte at work

Plant remains are found within soil samples—a so-called fill. After its excavation, the fill is processed to separate the plant remains from the soil. Processing either involves wet or dry sieving in the case of waterlogged or desiccated remains or flotation in the case of mineralised or carbonised remains. Because the carbon or mineralised remains are lighter than the soil that they are in, they will float to the top whilst the soil and rocks sink to the bottom when dropped in water and agitated. Separated from the soil, the plant remains will be dried and are ready for closer analysis with a microscope.

the flotation tank used by charlotte and dr erica rowan at the sardis excavation in turkey
analysis of plant remains under a microscope

Although these are quite literally very small discoveries, as the mm scale in the picture illustrates, the excitement of recognising food and plants that are still common today is palpable for Charlotte: “I love finding grape pits because they look like the skulls in those wild west bars, the skull of buffalos […] it’s so cool.”

a charred grape seed

how do you analyse the plant remains? how much can you actually learn from a small grape pit?

Charlotte sees archaeobotany as “a way of communicating with ordinary people in the past”, seeing not just into their store cupboards but into their mindset. Plant remains can give astonishing insight into people’s culinary habits and their relation to their land. Archaeobotanists can trace what cereals people were consuming, how these cereals were stored, and where they were processed. For instance, “if a sample is particularly rich in just grains, the evidence leans toward cereal processing or agricultural processing. In contrast, if a sample has very few grains in comparison to how much charcoal there is you can infer that it is more likely that the grains were just windblown. If there is a very wild range of different types of food, edible food, and a lack of charcoal, it can be evidence of food storage.” Further, if there is a rare seed that one didn’t expect to occur in the specific area and time excavated, “you can track seed travelling”. Through food, archaeobotanists are able to study cultural and culinary habits of past societies with remarkable detail.

charlotte’s research: using archaeobotany to analyse roman houses

Charlotte uses archaeobotany to better understand how space was used in Roman houses. When it comes to these houses, there is a lot of space archaeologists tend not to analyse—spaces that are not grand dinner rooms or entrance halls. Charlotte intervenes: “wouldn’t it be interesting to use archaeobotany to figure out the use of these spaces?” One place she investigated was a house in Sardis, Turkey. This house had been destroyed by a fire in the early 7th century, leading to a rich amount of charred plant remains. Now the detective-job of the archaeobotanists begins. Charlotte explains to me that there was one room where many pots, pans, and pottery were found. Yet, there was no evidence of a former stove. She wondered, could it be a storage room? Or was it a kitchen, despite lacking traces of a stove? Looking at the archaeobotanical evidence, she found a high concentration and wide range of edible plants; olives, figs, nuts, barley, and peas, but no evidence of crop processing. That suggests that the activity being carried out in the room at the time of the fire was food preparation. She finally concluded that the room may have served as a kitchen.

As part of her research, Charlotte investigated another case study, a villa in Saglasos, built originally in the 2nd century CE. Archaeobotany could reveal that the estate was sub-divided and used for agricultural activities in the 6th century. In one room, excavators had found a press for mulberries and evidence for making mulberry jam. Another room showed evidence of grain threshing, a third room traces of burned rubbish, including food. Together with analyses of space, Charlotte summarises, “archaeobotany can help us to reveal and tease out those hidden histories that are told through food.” Asked where the most fruitful fills for archaeobotany are usually found, Charlotte responds: “You would be surprised about the amount of remains we find from toilets.”

it’s true. we are what we eat—it says so much about us, our personality, and our background.

How will future archaeobotanists reconstruct current culinary cultures? Chances are they will have a hard time. Food mobility, sewage systems, and genetic modifications of seeds will make it very challenging to formulate hypotheses on food cultivation and consumption. Just think about genetically modified seedless grapes. What should the archaeobotanists analyse under a microscope without any hard plant remains? To be honest, I now feel compelled to refrain from eating any more seedless grapes or tangerines. I want all these tiny seeds and pits to continue to defy the devastation of time, the angel of history. Half-joking, half-serious, Charlotte concludes, “The real shame about modern toilets is the u-bending of the flush […] all the modern archaeobotany is flushed into a sewer.”

romagnoli – wooden pasta tools since 1918

filippo romagnoli in his wood carving workshop. on the table are cutting boards, rolling pins, and pasta stamps.

In Tavarnelle Val di Pesa, a small town in the famous wine area Chianti, I park my car to visit the wood carving workshop of Filippo Romagnoli. From the outside, the building looks like a normal family house in a residential neighbourhood. The workshop is on the ground floor, and Filippo’s family lives above. When you enter the first room, you notice wooden frames and candelabra that hang on the workshop’s walls. Large shelves are packed with wood and carving projects in various stages. A big table stands in the middle of the room. On the table lay refined wooden rolling pines, beautiful cutting boards, and pasta stamps. The stamps are still waiting for their final finish. Bright sun beams illuminate the carving table on the right side of the room. It must carry about a hundred little carving tools from Italy, England, and Germany, among other places. The producers of these specialised tools are small artisanal businesses as well. Next to the carving table stand two delightful little lemon trees that have found refuge inside from the colder winter days. The second room of Filippo’s workshop is filled with bigger tools that he uses for the initial carving stages of his wooden products. Planks of different types of woods are leaning on the wall, waiting to be transformed. The workshop’s atmosphere is calm, and warm wood dust flies peacefully through the air.

the outer shape of the corzetti pasta stamp is carved

Filippo Romagnoli is the third generation of a Tuscan family of wood carvers. His grandfather Ferrando learned how to carve wood at the age of 11. In 1918, he joined a workshop in the artisan neighbourhood in Florence named San Frediano. At the time, Florence was one of the most important cities for wood carving in Italy. The city was filled with Renaissance-like workshops, the so-called “bottega”. These workshops were places of teaching and learning and collaborative work. A wider network of workshops ensured the excellence of craftsmanship in the city. If a student was very good at designing but less skilled at wood carving, the master would put him in contact with workshops of a different craft. This supportive structure allowed students to maximise their talents. Reflecting on the bottega’s communal organisation and with a critical view on today’s individualisation of artistic genius, Filippo explains: “there is no one-man dance in art”.

At the bottega, apprentices would start at a young age to learn the craft and responsible work behaviour. Filippo shares with a twinkle: “at 11, they’re very smart, at 12, a bit less.” The learning process was long and slow, the weeks filled with hard work. A crucial point of the young wood carver’s education was understanding that similar shapes may occupy different meanings. For instance, the numbers 6 and 9 have the same shape but symbolise different quantities. One defined form possesses a broad expressive quality. To project this kind of knowledge onto a three-dimensional object and to plan and play with its effects was challenging: “It’s like a rebirth.”

this paper shows drawings of giulio campolmi, the master of filippo’s grandfather. they convey a lesson on different wood carving styles. 600 luigi 13 stands for 1600, louis 13th (king of france) – style
designs from the workshop of giulio campolmi
old photos of giulio campolmi’s workshop in florence. the hands on the top left and bottom right photos are casted from young children and poor people from the neighbourhood who would get breakfast in return

Filippo’s grandfather was trained at the workshop of master Giulio Campolmi. It was located at the Via Santa Maria in San Frediano, near the Teatro Goldoni. The workshop represented a novelty of industrialisation—Campolmi was paid by bigger factories to train apprentices to eventually become their employees. He collaborated with many famous architects at the time, which gave his students the chance to work on more advanced and intricate projects. In the early 1920s, an architect who rehabilitated an old castle in Genoa brought pasta stamps to Campolmi and asked for their restoration. The apprentices were laughing at this curious object, since they usually worked on larger pieces. However, this marked the moment when Filippo’s grandfather began to carve pasta stamps. A hundred years later, the family tradition of carving pasta stamps lives on in Filippo’s workshop.

corzetti pasta stamp design for ferrando romagnoli, commissioned by mr mackenzie from genoa, 1921
corzetti pasta stamp designs, inspired by grains, by ferrando romagnoli, 1942

Romagnoli pasta stamps are tools to make Corzetti. Corzetti is a type of round, flat pasta, resembling a large coin. One side of the Corzetti shows an intricate design while the other displays a simple pattern. The decoration allows for a beautiful individualisation of the pasta. It also enables the sauce to better hold on to it. Corzetti come from North-East Liguria and date back to the Mediaeval Period. Nowadays, Corzetti are difficult to find. Since the profession of wood carvers is slowly disappearing, fewer and fewer pasta stamps are available to buy: “I found Italians had totally forgotten this item.” The wood-carved stamps, however, are vital to making the pasta. Filippo explains: “We’re part of the ingredients.”

The Corzetti pasta stamp is a beautiful and very specialised kitchen tool. It consists of two parts. The lower part has a sharp edge to cut the rolled out pasta dough into round shapes. To create the decorations on the Corzetti, the round pasta disc is pressed between the two parts that have engraving imprints. Filippo carves the Corzetti stamps out of beechwood from the Casentino forest between Florence and Arezzo. The Casentino forest is a stony territory. The wood grows slowly, rendering it very solid. One cubic metre of Casentino beech wood weighs about 1200kg, making it much heavier than, e.g., beech wood from the German Black Forest. The high density is particularly important to stabilise the stamp’s cutting edge which is its most fragile part. The wood’s sturdiness is also essential to maintain the shape of the imprint. Filippo’s pasta stamps come with a range of different motifs; the Florentine lily, the bee, and an octopus, among others. Customers can also contact him for individualised designs.

When Filippo wondered how to carry his profession into the 21st century and the world of e-commerce, he found a market niche for pasta stamps. Especially American clients were interested in his work. Now, they make up his largest group of clients, followed by Australians and Brits. Filippo sells his pasta stamps, rolling pins, and cutting boards on Etsy, a platform that aims to sustain small creative businesses. This is not an easy task. The first difficulty lies in the fast process of making online purchases which stand in stark contrast to the slow process of hand-carving the pasta stamps. Luckily, Filippo finds his clients to be understanding. The other difficulty relates to the bureaucracy of shipping. His products have to fulfil tight and extensive regulations since they come into contact with food. The many certifications he has to provide keep Filippo occupied and take away essential carving time. He is very critical of how Italian and European bureaucracy burdens artisans who do not have the human resources to keep up with the paper work: “How can you make it difficult for mini businesses?”

Filippo is also worried that young people won’t find the profession of the wood carver attractive anymore: “If you want to do something with your hands, it’s very, very difficult.” The bottega workshops have disappeared, the master-student relationship now mostly lives on within families. Filippo studied at an art institute in Florence and was taught how to carve wood by his father: “you learn the beauty and the hardness of the work”. He believes that current school education is too mind-focused and fails to connect intellectual knowledge and artisanal craftsmanship. Students are not encouraged to consider physical professions. He asks, “Where is the artist to connect mind and body?”

i don’t want to make it by machine. at least one in the world has to do it by hand.

While Filippo and I are chatting about the past, present, and future of wood carving, he shows me his workshop and explains the various steps of making the pasta stamps. In advance, I had placed an order for a pasta stamp with the Florentine motif. Filippo waited with the final carving to give me a life demonstration of his work. The stamp is clamped into the carving table, and Filippo begins to carve the miniature lilies. He then proceeds to make the gauges in the centre of the stamp. Every little petal in the middle requires three precise gauges. It is fascinating to watch him work, as he cheerfully describes all the intricate details to pay attention to. Finally, he covers the stamp with a thin layer of non-allergenic mineral oil to protect it from humidity.

filippo romagnoli carving my corzetti pasta stamp
a final test with play-dough – the imprint is clear and beautiful
all wrapped up & ready to go

The pasta stamp in my bag, I drive back to Florence to make Corzetti at home. I use the pasta dough recipe from the Romagnoli website, which works perfectly. The dough is firm enough to retain the imprint and not stick to the stamp. It is a pleasure to see my kitchen towel slowly filling up with beautiful Corzetti coins. Having the pasta prepared, I braise turnip greens with garlic, chili, and anchovies in olive oil. Once the turnip greens become soft, I use a stand mixer to turn everything into a brightly green and creamy pasta sauce. Mixed with the cooked pasta and topped with toasted pine nuts, I look with excitement at my first ever Corzetti dish.

the final dish – home-made corzetti with cime di rapa and pine nuts

Thinking about all the different layers of work involved, I eat each coin with care and attention. I wonder, if the client from Genova wouldn’t have contacted Filippo’s grandfather 100 years ago to restore pasta stamps, what would have happened to Corzetti? If Filippo weren’t dedicated to maintaining his family’s craft, would I have ever learned about Corzetti?

What will happen to this pasta that is so tightly intertwined with the fate of the wood carving profession?

mise en place in a tiny kitchen

our stove – the Bialetti Moka gives away the small size of the stove plates
our tiny kitchen

It’s been only a few weeks living in our new Florentine apartment and the kitchen situation looks rather poor. I knocked my head numerous times at our low hanging range hood. Electricity switched off around 6-7 times as I keep forgetting that you can only use one electronic machine at a time (it’s an old house). I broke our only salat bowl when it fell out of our tiny stuffed shelve, and I gave up using our countertop oven (an initial symbol of hope) when it took one hour rather than 25 minutes to cook zucchini. In addition, we only have two stove plates, relatively small and very close to each other. That means I cannot place our one mid-sized pot next to our one (small!) pan to cook simultaneously. If I want to boil pasta and prepare a sauce at the same time, I already have a problem.

To complicate things even more, I cannot prepare a dish or an ingredient in advance and quickly warm it up when needed. Recently, I was cooking a crema di ceci, a chickpea cream, for dinner. The chickpeas were cheerfully boiling in a small pot, the vegetables—mangold, zucchini, tomatoes—were calmly simmering in the big pot. The chickpeas were almost done and ready to be mixed when I realised I had forgotten to prepare a broth. I needed the broth to smoothen the texture of the crema and to deepen its taste. Unfortunately, there was no space to heat water to dissolve a broth cube, or unfreeze the self-made broth that was happily chilling in my freezer. It felt like one of these final text questions at a high school maths exam: “You have to cross the river with one boat with only two seats, and X can’t sit next to Y who can’t be left alone with Z…” I could not solve the riddle. That night, the crema di ceci just had to be eaten without broth. A tiny kitchen certainly is puzzling.

Cooking in a professional kitchen, however, I learned about a helpful concept I now apply to my private kitchen: mise en place. The French term roughly translates to “put in place” and describes an approach to cooking in which you consider all the steps to be taken in advance. This allows you to prepare and store your ingredients in a way that maximises and facilitates your cooking efficiency. It further helps you organise your kitchen space so that your tools are accessible and ready to support your cooking adventure. Before you start working with heat and thus accelerate the speed of cooking, pause and think of what you can prepare. What vegetables can you clean and chop in advance? What other components can be made beforehand to prevent having to do too much simultaneously later? For example, while you don’t want to wash salad leaves too early, why not already mix a vinaigrette and have it ready for use? Mise en place is all about thinking ahead to take off some steam once it gets busy.

Mise en place motivates me to realistically assess what I can cook in my tiny kitchen and what I can’t. No, I cannot use the oven to make Tuscan roast pork, a fish in salt crust or bake any of the delightful Italian pasticceria. Impossible. I also cannot rely on the stove to prepare all components of a dish such as a fish fillet with creamy potato puree and braised spinach on the side. However, what I can do is to relocate most of my cooking from the stove to the dining table. The table is big enough to easily prepare pasta of all kinds of shapes. I also have sufficient space to chop and create varieties of salads and raw dishes. What also helps is to cook ahead by preparing a hearty ragù on one day, and then use the next day to make fresh pasta.

our beloved table – this is where I prepare most of the ingredients and also place my pasta board

If I want to cook something more complex, it is also doable. I need to go through the dish’s different components and preparation steps attentively and make sure I create a timeline that fits my kitchen while never compromising on taste. If I plan accordingly, I can make gnudi con ricotta e spinaci with porcini mushrooms in sage butter, or ravioli filled with egg yolk, in a pumpkin gorgonzola sauce with toasted almonds.

ravioli filled with egg yolk in a pumpkin-gorgonzola sauce with toasted almonds and parsley on top

If you have a small or large kitchen, live in a cramped student dorm or a spacious house, mise en place is a useful concept to explore. In my tiny, half-dysfunctional kitchen, it helps me improve what I can do, be realistic of what I can’t, and pushes me to think of cooking techniques and ingredient combinations previously untried.


mise en place do’s:

  • organise your kitchen in a way that minimises your steps to be fast and efficient
  • know your kitchen organisation – have a set place for every tool and ingredient
  • make sure you maintain your kitchen organisation
  • invest in lots of different-sized bowls and containers to store your prepared ingredients and prevent any ingredients to fall on the floor (oranges, lemons, apples, etc.)
  • keep you fridge organised and know your ingredients’ expiration dates
  • know the date you opened a jar or product container – use a marker to write down the date on the container
  • understand your recipe and the order of all cooking steps before you start (you might need to adjust the order of preparation depending on your kitchen)
  • think ahead – what can be prepared in advance? What needs to be prepared in advance because later on you won’t have sufficient space on your stove anymore?
  • clean while you cook – especially in a tiny kitchen it’s essential not to waste any space with pilled up dirty dishes

Now go ahead, Dear Reader, prep and organise!

Alla prossima!

Lilly